Philosophy: aesthetics Books

Book SynopsisThe term ad vivum and its cognates al vivo, au vif, nach dem Leben and naer het leven have been applied since the thirteenth century to depictions designated as from, to or after (the) life. This book explores the issues raised by this vocabulary and related terminology with reference to visual materials produced and used in Europe before 1800, including portraiture, botanical, zoological, medical and topographical images, images of novel and newly discovered phenomena, and likenesses created through direct contact with the object being depicted. The designation ad vivum was not restricted to depictions made directly after the living model, and was often used to advertise the claim of an image to be a faithful likeness or a bearer of reliable information. Viewed as an assertion of accuracy or truth, ad vivum raises a number of fundamental questions in the area of early modern epistemology – questions about the value and prestige of visual and/or physical contiguity between image and original, about the kinds of information which were thought important and dependably transmissible in material form, and about the roles of the artist in that transmission. The recent interest of historians of early modern art in how value and meaning are produced and reproduced by visual materials which do not conform to the definition of art as unique invention, and of historians of science and of art in the visualisation of knowledge, has placed the questions surrounding ad vivum at the centre of their common concerns. Contributors: Thomas Balfe, José Beltrán, Carla Benzan, Eleanor Chan, Robert Felfe, Mechthild Fend, Sachiko Kusukawa, Pieter Martens, Richard Mulholland, Noa Turel, Joanna Woodall, and Daan Van Heesch.Trade Review“The editors and contributors must be commended for this provocative collection of focused scholarship that refreshes our understanding of a pivotal term for early modern art theory.” Tianna Helena Uchacz, Texas A&M University. In: Renaissance Quarterly, Vol. 74, No. 3 (Fall 2021), pp. 933–934.Table of ContentsAcknowledgements List of Illustrations Notes on the Editors Notes on the Contributors 1 Introduction: From Living Presence to Lively Likeness – the Lives of ad vivum  Thomas Balfe and Joanna Woodall 2 Naer het leven: between Image-Generating Techniques and Aesthetic Mediation  Robert Felfe 3 Ad vivum Images and Knowledge of Nature in Early Modern Europe  Sachiko Kusukawa 4 Paintworks au vif to Paintings from Life: Early Netherlandish Paintings in the Round and the Invention of Indexicality  Noa Turel 5 Cities under Siege Portrayed ad vivum in Early Netherlandish Prints (1520–1565)  Pieter Martens 6 ‘Jerusalem naert Leven’? Envisioning the Holy City in the Low Countries (1525–1575)  Daan van Heesch 7 Coming to Life at the Sacro Monte of Varallo: the Sacred Image al vivo in Post-Tridentine Italy  Carla Benzan 8 The Vital Breath: Mathematical Visualizations in England and the Netherlands around 1600  Eleanor Chan 9 Nature au naturel in Late-Seventeenth-Century France  José Beltrán 10 Drawing the Cadaver ad vivum: Gérard de Lairesse’s Illustrations for Govard Bidloo’s Anatomia Humani Corporis  Mechthild Fend 11 The Mechanism and Materials of Painting Colour ad vivum in the Eighteenth Century  Richard Mulholland Index Nominum

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Book SynopsisIn the Name of Friendship: Deguy, Derrida and "Salut" centres on the relationship between poet Michel Deguy and philosopher Jacques Derrida. Translations of two essays, "Of Contemporaneity" by Deguy and "How to Name" by Derrida, allow Christopher Elson and Garry Sherbert to develop the implications of this singular intellectual friendship. In these thinkers’ efforts to reinvent secular forms of the sacred, such as the singularity of the name, and especially poetic naming, Deguy, by adopting a Derridean programme of the impossible, and Derrida, by developing Deguy's ethics of naming through the word "salut," situate themselves at the forefront of contemporary debates over politics and religion alongside figures like Alain Badiou and Jean-Luc Marion, John Caputo and Martin Hagglund.Trade Review"This lengthy, sophisticated, and complex book by Christopher Elson and Garry Sherbert includes previously untranslated essays by Jacques Derrida (‘How to Name’) and Michel Deguy (‘Of Contemporaneity’); it is a celebration of the long friendship between these two thinker-poets, and their dialogue on a number of topics including (their) friendship. [...] this is a substantial contribution, and will be helpful for those working in the field to consult." br/>Judith Still, University of Nottingham, French Studies, 73-2, April 2019.Table of ContentsContents Preface   Adelaide Russo Acknowledgments Foreword: Of Friendship with Derrida  Michel Deguy Abbreviations Translator’s Note Polemical Introduction 1 The Poetics of Friendship 2 “The Sacred Without the Sacred”: Salut and the Metonymy of Poetic Nomination 3 Of Contemporaneity: A Talk for Jacques Derrida  Michel Deguy 4 The Poet’s Duty: Michel Deguy’s Deconstructive Poethics  Christopher Elson 5 How to Name  Jacques Derrida 6 Calling Names: Derrida, Deguy, and Spectropoetics  Garry Sherbert 7 “A Religion of the Event”: Salut, Ethics, and Quasi-Atheistic Transcendence Conclusion Appendix of Additional Texts by Michel Deguy Bibliography Index

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Book SynopsisHaecceities: Essentialism, Identity, and Abstraction is both an artistic and philosophical examination of the limits of Abstraction in art and of kinds of radical identity that are determined in the identification of those limits. Building on his work Subjects and Objects, Strayer shows how the fundamental conditions of making and apprehending works of art can be used, in concert with language, thought, and perception, as ‘material’ for producing the more Abstract and radical artworks possible. Certain limits of Abstraction and possibilities of radical identity are then identified that are critically and philosophically considered. They prove to be so extreme that the concepts artwork, abstraction, identity, and object in art, philosophy, and philosophy of art, have to be reconsidered.Trade Review"Strayer, in Haecceities, gives us a fascinating, extended intellectual meditation on the limits of abstraction in art, and does so with such a breathtaking relentlessness, that it is unlikely that anyone could ever write a more definitive book on the subject." - Phil Jenkins, Marywood University, in: Philosophy in Review 39.2 (2019)Table of ContentsAcknowledgments List of Haecceity Illustrations and Figures PART ONE Introduction 1. Theses of Abstraction. 2. The essential elements of an artistic complex and the idea of Essentialism or Essentialist Abstraction. 3. Radical identity. 4. Essence and Essentialism. 5. Consciousness. 6. Objects. 7. Summary and the goals and workings of Essentialism. PART TWO Space, Time, Language, and Objects and Particular Matters of General Relevance to Essentialism 8. The particularity of objects and the use of the term ‘haecceity’ in regard to Essentialist artworks. 9. Space, language, and the perceptual object. 10. Effects of the algorithm: visible and invisible, on and off the surface. 11. Time and the perceptual object. 12. Space, time, language, and the perceptual object. 13. Meaning, specification tokens, and matrices. 14. Time and the specified object. 15. Change and the perceptual object. 16. Interpretation. 17. The delimitation of logical space and a subject’s history of awareness. PART THREE Haecceities, Ideational Objects, and Identity 18. No artwork without an identity. 19. Traditional identity in the visual arts. 20. Essentialism and identity. 21. Haecceities and ideational objects. 22. Kinds of ideational identity. 23. Basic and sophisticated space, meaning, identity, and work. 24. Haecceity artwork identity: preliminary points. 25. Disseminated identity. 26. Distributed identity. 27. Disseminated and/or distributed identity. 28. Non-disseminated and non-distributed identity. 29. Aesthetic properties and basic and sophisticated space. 30. Homogeneous identity. 31. Heterogeneous identity. 32. Actuality and possibility and identity. 33. Possibilities of identity. 34. Identity and Abstraction. 35. Things that can complicate identity. 36. Thisness and Essentialism. 37. Egalitarian identity. 38. Summary of Essentialist identity. PART FOUR The Space of Apprehension and the Field of Understanding 39. Introduction. 40. Circles, matrices, and the space of apprehension. 41. Language and information in the Haecceities series. 42. Comprehending specifications. 43. The field of understanding. 44. The algorithm, matrices, parts and wholes, and relationships. 45. Ideational objects. PART FIVE Essentialist Determination of Some Limits of Abstraction and Kinds of Radical Identity: Selections from the Haecceities Series with Commentary 46. The language of Essentialism, identity, and the limits of Abstraction. 47. Haecceity 1.0.0. 48. Haecceity 1.1.0. 49. Haecceity 1.2.0. 50. Haecceity 2.0.3. 51. Haecceity 2.9.0. 52. Haecceity 2.10.1. 53. Haecceity 3.29.0. 54. Haecceity 4.7.0. 55. Haecceity 7.3.0. 56. Haecceity 12.0.0. PART SIX Appendices Appendix One: A Paradox of Identity? Appendix Two: Time and Understanding. Index

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Book SynopsisIn Aesthetics in Arabic Thought from Pre-Islamic Arabia through al-Andalus José Miguel Puerta Vílchez analyzes the discourses about beauty, the arts, and sense perception that arose within classical Arab culture from pre-Islamic poetry and the Quran (sixth-seventh centuries CE) to the Alhambra palace in Granada (fourteenth century CE). He focuses on the contributions of such great thinkers as Ibn Ḥazm, Avempace, Ibn Ṭufayl, Averroes, Ibn ʿArabī, and Ibn Khaldūn in al-Andalus, and the Brethren of Purity, al-Tawḥīdī, al-Fārābī, Avicenna, Alhazen, and al-Ghazālī in the East. The work also explores literary criticism, calligraphy, music, belles-lettres (adab), and erotic literature, and highlights the contribution of Arab humanism to shaping the field of Aesthetics in the West.Trade Review"This is an English translation of the major work on the topic in modern times, and is well worth having. It is an excellent translation, clear and fluent. [...] The book is an impressive size, over 900 pages and represents an impressive scholarly contribution to the area." - Oliver Leaman, University of Kentucky, in: Journal of Semitic Studies 64/1 (2019)Table of ContentsPreface to the English Translation Acknowledgments List of Figures Introduction 1) Contemporary Historiography of Arab-Islamic Aesthetic Thought a) Western Criticism b) Arabic Criticism 2) Aesthetic Theory and Arab Andalusi Aesthetics 1. Beauty and the Arts in the Rise of Written Arabic Culture 1.1. Pre-Islamic Sensibility and the Vocabulary of Aesthetics 1.1.1. The Supernatural Origin of Artistic Creation 1.1.2. The Physical and Luminous Character of Beauty in Pre-Islamic Poetry. Woman as an Aesthetic Object and Agent 1.1.3. The Arts and Architecture in Pre-Islamic Poetry 1.2. The Great Message of Revelation and Its Aesthetic Dimension 1.2.1. Beauty and Absolute Perfection in the Word and the Divine Order a) The Inimitability of the Quran b) The Creator c) Creation 1.2.2. Artistic Creation in the Sacred Texts a) The Problem of Figurative Representation b) Architecture and Sculpture in the Quran c) Prophethood and Poetry d) Music in the Hadīth 1.2.3. The Development of the Arts under the New Politico-Religious Order of Islam 2. The Arts on the Margins of Knowledge: Ideas and Concepts of Arts in Classical Arab Culture 2.1. The Arts in the Arab-Islamic Encyclopedia 2.1.1. The Arts in the Classification of Knowledge in the East 2.1.2. The Arts in the Classification of Knowledge in al-Andalus and the Maghrib a) The Arts in the Ẓahiri System of Knowledge b) Ibn Bājja: the Practical Arts and Classifications of Intellectual Knowledge in the Founding of Andalusi Falsafa c) Ibn Ṭufayl’s Self-Taught Philosopher: Man in a state of Nature Neither Produces nor Conceives of the Arts d) The Arts and Knowledge in Ibn Rushd’s Rationalist Scheme e) The Arts in Ibn Khaldūn’s Study of Society 2.2. The Brethren of Purity’s Neopythagorean and Neoplatonic Concepts of Art, and al-Tawḥīdī’s School in Baghdad 2.2.1. The Brethren of Purity’s Pythagorean Theory of Art a) The Geometric Order of the Universe b) The Harmonious Concord of the Cosmos c) Ideal Proportion, the Key to Artistic Perfection d) The Manual Arts and Artistic Creativity 2.2.2. The Aesthetic Neoplatonism of al-Tawḥīdī’s School in Baghdad a) Thought, Art, and inspiration b) Artistic Form and the Unicity of God c) Artistic Creation as the Emanation of the Soul and the Perfection of Nature d) The Nature of Beautiful Form e) The Language Arts: Prose, Verse, and Rhetoric f) Musical Harmony and Its Affinity with the Soul g) Abū Ḥayyān al-Tawḥīdī’s Treatise on Calligraphy and the Foundations of the Genre in Arabic 2.3. Calligraphy among the Sciences of Language in Ibn al-Sīd of Badajoz 2.4. Revelation, Morality, and Art in the Work of Ibn Ḥazm 2.4.1. The Divine Origin of the Arts and their Human Transmission 2.4.2. The Perfection and Immutable Order of Divine Creation 2.4.3. Man’s Works and Revelation: Architecture, Images, and Music in Ibn Ḥazm’s jurisprudence a) Mosques in a Juridical Treatise from Tenth-Century Cordoba. A Moral Warning about Architecture b) Religious and Lay images in Ibn Ḥazm c) The Ẓahiri Faqīh on Music 2.4.4. Ibn Ḥazm’s Theory and Criticism of Poetry a) The Moral Character of Poetry b) Poetic Concepts and Classes: Technique, Naturalness, and Skill c) Ibn Ḥazm’s Rhetoric d) The Quran is Radically Inimitable 2.5. Mimesis as the Definition of Art in Eastern Falsafa 2.5.1. The Origin and Development of the Concept of Mimesis in Classical Eastern Islam: Mattā, al-Fārābī, and Ibn Sīnā a) Mattā and the Arabic Version of Mimesis b) Mimesis in al-Fārābī’s Theory of Art: Ethics, Politics, and Imagination c) Ibn Sīnā (Avicenna) and his translation of Aristotle’s Poetics 2.5.2. Mimesis as a Unifying Concept of the Arts in Eastern Falsafa 2.5.3. Artistic Fulfillment: Elements for an Aesthetics of Falsafa 2.6 The Theory of Artistic Mimesis in Andalusi Thought and Criticism 2.6.1 Rhetoric and Poetics in Ibn Rushd’s Ethical and Rationalist Thought 2.6.2 Ibn Rushd’s Poetics between Rhetoric and Ethics a) Ibn Rushd’s Talkhīṣ Kitāb al-Shiʿr and Its Greek original b) The Nature and Types of Arabic Poetry. The Averroist Concept of Mimesis c) The Ethical Purpose of Poetry d) The Components of Eulogy e) Harmonious and Unified Composition f) The Relationship of Poetry to Truth g) Representation of Misfortunes and Defects h) The Characters that Eulogy Should Represent i) Modes of Imitation in Poetry j) Rhetorical Elements: Extrinsic Aspects, Wordplay, and Taghyīr or Alteration k) Criticizing Poets’ Falsehoods 2.6.3 The Pleasures of Imitation as a Path to Ethical Education in Ibn Rushd’s Versions of the Rhetoric and the Poetics a) The Various Mimetic Arts: Natural Disposition, Technique, and Faithfulness b) The Enjoyment That Every Artistic Imitation Brings c) The Pleasure of Poetry Should Serve its Ethical Goals 2.6.4 Ḥāzim al-Qarṭājannī: From the Theory of Mimesis to a Total Arabic Aesthetics a) Theory and Definition of Poetic Ideas b) Poetry’s Perceptual and Intellectual Dimension c) Truth is not an Issue in Poetry. Definition of Poetry d) Muḥākāt and Takhyīl: A Profound Conception of the Imitative Arts e) Toward a General Arabic Aesthetics: Imitation, Imagination, Astonishment, Pleasure. An Aesthetics of Light and Reflection f) Harmonious Composition of the Qaṣīda. Critical Judgment 2.7 The History, Sociology, and Definition of the Arts in Ibn Khaldūn’s Muqaddima 2.7.1 The Arts in the Development of Human Civilization and as a Manifestation of Power a) The Geographic Factor, and Moderation as the Physical, Moral, and Aesthetic Ideal b) The Arts in the Nomadic-vs.-Sedentary Debate. Necessity and Opulence c) The Arts in Ibn Khaldūn’s Semiotics of Power 2.7.2 Ibn Khaldūn’s Urbanism a) Urban Life Follows the Rise of State Power b) The City’s Site and Basic Services c) The Ancient Arabs and Architecture 2.7.3 Ibn Khaldūn’s Definition of the Arts a) The Arts Consist of Both Theory and Practice b) The Art of Construction c) The Art of Carpentry d) The Art of Calligraphy e) Ibn Khaldūn’s Concept of Poetry 3 Aesthetic Perception and the Definition of Beauty in Classical Arabic Thought 3.1 Theory of Knowledge and Definition of Beauty in the Thought of Ibn Ḥazm of Cordoba 3.1.1 Reason versus Imagination. Ibn Ḥazm’s Theory of Knowledge a) The Nature of the Human Soul b) The Perceptive Structure of the Soul. Rational, Sensory, and Linguistic Knowledge c) The Importance and Specificity of Visual Perception d) Ibn Ḥazm’s Theory of Colors and Classical Arab Physics 3.1.2 Physical Beauty in Ibn Ḥazm’s Writings on Love a) The Ethical Framework of Love b) Conceptualization of Love and Beauty c) Spiritual Affinity and Physical Forms d) Love against Reason. Transformations in Aesthetic Judgment e) Ibn Ḥazm’s Participation in the Aesthetics of Light f) The Fleeting Nature of Beauty 3.1.3 The Metaphysical Meaning of Ibn Ḥazm’s Aesthetics a) Beauty as a Spiritual Accident b) The Divinity and Supernatural Beings Cannot be Defined in Aesthetic Terms 3.1.4 Ethical and Moral Beauty 3.2 Aesthetic Syntheses in Arabic Erotic Literature after Ibn Ḥazm 3.3 The Metaphysics and Perception of Beauty in Classical Arabic Falsafa 3.3.1 Aesthetic Principles and Concepts in the Arabic Version of Plotinus’s Enneads 3.3.2 Al-Fārābī’s Metaphysical Aesthetics a) The Beauty and Perfection of the First Cause b) The Perfection and Beauty of Non-Corporeal Substances and Heavenly Bodies c) Perfection and Beauty of the Human Being Compared to Those of the First Cause d) Modes of the Perception and Fulfillment of Beauty 3.3.3 Divine, Intellectual, and Physical Beauty in Avicenna’s Metaphysics a) Definition of Divine Beauty and Goodness b) Perception of Beauty in Ibn Sīnā’s Theory of Knowledge c) Metaphysical Perception vs. Sensory Perception: Pleasure and Appropriateness, the Ascent to Supreme Felicity 3.4 Theory of Perception and Aesthetic Contemplation in the Andalusi Falsafa of Ibn Bājja and Ibn Ṭufayl 3.4.1 Ibn Bājja’s Theory of Perception a) Faculties of the Soul and the Theory of Forms b) Sense Perception. Vision and Color Theory. Acoustic Perception c) Intermediate Faculties: Common Sense and the Imaginative d) The Rational Faculty: Universals, Spiritual Forms, and Higher Knowledge 3.4.2 Parameters of Ibn Bājja’s Transcendental Aesthetics a) Ibn Bājja’s Theory of Pleasure. Contemplative Aesthetic Delight 3.4.3 Ibn Ṭufayl and Gustatory Union with Divine Beauty 3.5 Sensibility and Intellection: Ibn Rushd’s Shaping of Aesthetics as a Conceptual Field 3.5.1 Ibn Rushd’s Theory of Sensibility. Visual Perception as the Nucleus and Paradigm of Sensory Knowledge a) The Judicious Function of the Senses b) Visual Perception and Color Theory c) Sensibles in the Soul 3.5.2 Common Sense, Imagination, and Cogitatio: The Judgment of the Senses and Artistic Composition 3.5.3 Reason, Imagination, and Intellection 3.5.4 Nature, Art, and Knowledge. Ibn Rushd’s Aesthetic Order 3.6 Ibn al-Haytham’s Optics and the Creation of an Arabic and Universal Theory of Aesthetic Visual Perception 3.6.1 Visual Knowledge and Aesthetic Knowledge a) The Distinctive Faculty and Its Syllogistic Visual Functions b) The Innate and Experiential Nature of Aesthetic Knowledge 3.6.2 Ibn al-Haytham’s Theory of Aesthetic Perception a) The Beauty of Individual Visible Properties b) Beauty as a Combination of Visible Properties. Proportion and Formal Harmony c) Ugliness as the Absence of Beauty d) Circumstances and Alterations of Aesthetic Perception. General Moderation of Visual Factors 3.6.3 On Ibn al-Haytham’s Artistic Terminology 3.7 Al-Ghazālī’s Aesthetics between Theology (Kalām) and Sufi Mysticism (Taṣawwuf) 3.7.1 Love for Both Sensible and Divine Beauty 3.7.2 Definition of Sensible and Artistic Beauty 3.7.3 The Superiority of Internal Beauty 3.7.4 Spiritual Faculties for Mystical Knowledge and Aesthetic Taste 3.8 Harmony and Appropriateness: Aesthetics in the Historical Evolutionism of Ibn Khaldūn 3.9 The Other Side of Reason. The Aesthetic Core of Ibn ʿArabī’s Sufism 3.9.1 Mystical and Universal Love a) “God Is Beautiful and Loves Beauty” b) “Beauty Reached in Thee Her Utmost Limit: Another Like Thee Is Impossible” c) “God Created Adam in His Own Image” 3.9.2 Imagination versus Reason a) Theory of Gnostic Understanding b) The Science of Imagination 3.9.3 Divine Beauty and Majesty. Ibn ʿArabī’s Aesthetics in the Dialectic of Tanzīh and Tashbīh a) Tanzīh and Tashbīh: The Form of God b) The Aesthetics of the One and the Many c) Beyond Iconoclasm d) Seeing God e) Divine Majesty and Beauty in the Soul 3.10 The Aesthetic Vocabulary of the Poems of the Alhambra 3.10.1 The Divine Origin of Beauty 3.10.2 The Sovereign as Aesthetic Agent 3.10.3 The Aesthetic Narcissism of Architecture Conclusion 1 Aesthetics at the Center of Arab Anthropology and Humanism 2 Arabic Aesthetic Concepts and Islamic Art 3 Arabic Aesthetic Thought in al-Andalus Bibliography of Primary Sources Bibliography of Secondary Sources Index

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Book SynopsisIn Ästhetik, Politik und schiitische Repräsentation im zeitgenössischen Iran zeigt Christian Funke die Verflechtungen von Politik, Protest und schiitischer Materialität auf und legt vielschichtig dar, wie die Grüne Bewegung mit umfassenderen Diskursen über Demokratie, Identität, Geschichte und Gegenwart sowie Religion und Politik verknüpft war. In Aesthetics, Politics, and Shiʿi Representation in Contemporary Iran Christian Funke explores the entangled relationship between politics, protest and Shiʿi materiality and shows how the ‘Green Movement’ was part of larger discourses on democracy, identity, the present and the past, and religion and politics.

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Book SynopsisEthical Exchanges in Translation, Adaptation and Dramaturgy examines compelling ethical issues that concern practitioners and scholars in the fields of translation, adaptation and dramaturgy. Its 11 essays, written by academic theorists as well as scholar-practitioners, represent a rich diversity of philosophies and perspectives, and reflect a broad international frame of reference: Asia, Europe, North America, and Australasia. They also traverse a wide range of theatrical forms: classic and contemporary playwrights from Shakespeare to Ibsen, immersive and interactive theatre, verbatim theatre, devised and community theatre, and postdramatic theatre. In examining the ethics of specific artistic practices, the book highlights the significant continuities between translation, adaptation, and dramaturgy; it considers the ethics of spectatorship; and it identifies the tightly interwoven relationship between ethics and politics.Table of ContentsAcknowledgments List of Figures List of Contributors Introduction: Othering Sameness Emer O'Toole and Andrea Pelegr¡ Kristi? PART 1: Culpable Dramaturgies 1 The Ethics of the Representation of the Real People and Their Stories in Verbatim Theatre Stuart Young 2 The Witness Turn in the Performance of Violence, Trauma, and the Real Suzanne Little PART 2: Adaptive Politics 3 Re-Routing Ibsen: Adaptation as Tenancy/Occupation in Simon Stone's The Wild Duck and Thomas Ostermeier's An Enemy of the People Glenn D'Cruz 4 Intercultural Adaptation: The Ethics of Peter Brook's 11 and 12 Emer O'Toole PART 3: Collaborative Ethics 5 Ethical Challenges in Adaptation: Gothic Eurico from Novel to Performance Gra‡a P. Corrˆa 6 The Nomadic Dramaturge: Negotiating Subjectivity, Multicultural Translation, and Dramaturgical Composition Fiona Graham PART 4: Stolen in Translation-Ambiguity and Omission 7 One Problem Play, Two Measures: Translatability of Christian Ethics in Two Adaptations of Measure for Measure Jenny Wong 8 The Poetics and Politics of Un/translatability in Timberlake Wertenbaker's New Anatomies Carol L. Yang 9 From Greek into Neutral: Translating Contemporary Greek Theatre during the Eurozone Crisis Maria Mytilinaki Kennedy PART 5: Postdramatic Dramaturgies, Ethical "Realities" 10 A Dramaturgy of Montage and Dislocation: Brecht, Warburg, Didi-Huberman, and the Pathosformel Jonathan W. Marshall 11 Staging the Ethical Dilemma of Liveness: John Jesurun's Divergent Play with Convergence Christophe Collard Index

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Book SynopsisThis collection of essays explores the crucial connections between aesthetic experience and the interdisciplinary field of somaesthetics, while further advancing inquiry in both. After the editor’s introduction and three articles examining philosophical accounts of embodiment and aesthetic experience in existentialism, phenomenology, hermeneutics, and pragmatism, the book’s nine remaining articles apply somaesthetic theory to the fine arts (including detailed studies of the body’s role in painting, sculpture, architecture, poetry, music, photography, and cinema) but also to diverse arts of living, considering such topics as cosmetics and sexual practice. These interdisciplinary, multicultural essays are written by a distinctively international group of experts, ranging from Asia (China and India) to Europe (Denmark, Finland, Hungary, and Italy) and the United States.Trade Review"somaesthetics has become the low-threshold platform for discussing the philosophy of the body. It has likewise become the most multicultural philosophical discourse on the soma when one thinks about its roots, where no philosophical traditions are absent. [...] All in all, Aesthetics and Somaesthetics is an engaging, well-written and well-edited book. [...] I can recommend the book to anyone interested in the philosophy of the body, not just somaesthetics. Here, somaesthetics has anyway showed its potential for being the philosophical discourse of the body for a long time to come." - Max Ryynänen, The Journal of Somaesthetics, vol. 4, issue 2, 2019. “The reviewed book is a remarkable example of the significance of somaesthetics for contemporary thought. ... I am sure that [this] book is a significant argument for the fruitfulness of somaesthetics.” - Leszek Koczanowicz, SWPS University of Social Sciences and Humanities, in Pragmatism Today, vol. 9, issue 2, 2018. "[The contributions in Aesthetic Experience and Somaesthetics give] testimony that somaesthetics not only allow[] for a better understanding of new phenomena present in the contemporary world but that it also enables us to read anew texts created in the past." - Krystyna Wilkoszewska, The Journal of Aesthetic Education, vol. 54, no. 3, 2020.Table of ContentsAcknowledgments List of Illustrations Notes on Contributors Introduction: Aesthetic Experience and Somaesthetics  Richard Shusterman Part 1: Embodiment in Philosophy and Aesthetic Experience 1 Nietzsche on Embodiment: A Proto-somaesthetics?  Catherine F. Botha 2 Experience and Aesthetics  Béla Bacsó 3 Art as Experience: Gadamer and Pragmatist Aesthetics  Alexander Kremer Part 2: Somaesthetic Approaches to the Fine Arts 4 Olafur Eliasson, Art as Embodied and Interdisciplinary Experience: In Dialogue with Else Marie Bukdahl  Else Marie Bukdahl 5 Winckelmann’s Haptic Gaze: A Somaesthetic Interpretation  Yanping Gao 6 Rethinking Aesthetics through Architecture?  Bálint Veres 7 “The Co-Presence of Something Regular”: Wordsworth’s Aesthetics of Prosody  John Golden 8 Singing, Listening, Proprioceiving: Some Reflections on Vocal Somaesthetics  Anne Tarvainen Part 3: Somaesthetics in the Photographic Arts and the Art of Living 9 Spectral Absence and Bodily Presence: Performative Writings on Photography  Éva Antal 10 Cosmetic Practices: The Intersection with Aesthetics and Medicine  Elisabetta Di Stefano 11 Santayana on Embodiment, the Art of Living, and Sexual Aesthetics  Nóra Horváth 12 Thinking through the Body of Maya: Somaesthetic Frames from Mira Nair’s Kamasutra  Vinod Balakrishnan and Swathi Elizabeth Kurian

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Book SynopsisSilence exists at the edge of the world, where words break off and meaning fades into ambiguity. The numerous treatments of silence in Steven L. Bindeman’s Silence in Philosophy, Literature, and Art question the misleading clarity of certainty, which persists in the unreflective discourse of common experience. Significant philosophical problems, such as the limits of language, the perception of sound and the construction of meaning, the dynamics of the social realm, and the nature of the human self, all appear differently as a consequence of this questioning. Silence is shown to have two modes, disruptive and healing, which work together as complementary stages within a creative process. The interaction between these two modes of silence serves as the dynamic behind the entire work.

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Book SynopsisThe Plant Contract argues that visual and performance art can help change our perception of the vegetal world, and can return us to nature and thought. Via an investigation into the wasteland, robotany, feminist plants, and nature rights, this phytology-love story investigates how contemporary art is mediating the effects of plant-blindness, caused by human disassociation from the natural world. It is also a gesture of respect for the genius of vegetal life, where new science proves plants can learn, communicate, remember, make decisions, and associate. Art is a litmus test for how climate change affects human perception. This book responds to that test by expressing plant-philosophy to a wider public, through an interrogation of plant-art.Table of ContentsAcknowledgments Introduction 1 The Wasteland and the Wilding: The Aesthetic of Abandoned and Reclaimed Green Spaces 2 Green Man: Human-plant Hybrids 3 Robotany and Aesthetics 4 Bio Rights: Earth of Agonies and Eco-punks 5 Eco-feminism: Plants as Becoming-Woman 6 Ungrounding Plant Life: The After-effects Conclusion: On Rhizomes and Dead Trees Bibliography Index

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Book SynopsisTaking as its exemplum the use of images in judicial decisions, this article argues that the ratio decidendi of legal precedent should be supplemented with the imago decidendi, the figure or depiction that motivates judgment. Drawing upon the history of legal humanism, and particularly the tradition of juristic emblems, it is argued that an adequate understanding of case law rules and decisions requires attention to the imagery that conceives and propels the reasoned deliberation that follows. To adequately apprehend the transmission of law in a digital age requires acknowledging that images think differently, that the ambulation of the eye in the image is very different to the linear glance of the text.

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Book SynopsisHumans have been described as “meaning-making animals.” At the threshold of the Anthropocene, how might humans artistically envision their place in the world? Do humans possess cultural tools, which will allow us to imagine new possibilities and relationships with the natural environment at a time when our material surroundings are under siege? Exploring Nature’s Texture looks at the imaginative possibilities of using the visual arts to address the breakdown of the human relationship with the environment. Bringing together contributions from artists, theologians, anthropologists and philosophers, it investigates the arts as a bridge between culture and nature, as well as between the human and more-than-human world. Contributors: Whitney A. Bauman, Sigurd Bergmann, Forrest Clingerman, Timothy M. Collins, J. Sage Elwell, Reiko Goto, Arto Haapala, Tim Ingold, Karolina Sobecka, George SteinmannTable of ContentsNotes on Contributors VII 1 Introduction: Exploring Nature’s Texture  Sigurd Bergmann and Forrest Clingerman Part 1: Seeing 2 With-In: Towards an Aesth/Ethics of Prepositions  Sigurd Bergmann 3 The Atmospheric Turn  Karolina Sobecka Part 2: Wondering 4 Wonder and Ernst Haeckel’s Aesthetics of Nature  Whitney Bauman 5 Art without an Object but with Impact  George Steinmann 6 Between Science and Art: An Anthropological Odyssey  Tim Ingold Part 3: Connecting 7 The Black Wood: Relations, Empathy and a Feeling of Oneness in Caledonian Pine Forests  Reiko Goto and Tim Collins 8 Cultivated and Governed or Free and Wild? On Assessing Gardens and Parks Aesthetically  Arto Haapala 9 Where Embodiment Meets Environment: A Meditation on the Work of Hans Breder and Ana Mendieta with an Accompanying Interview with Hans Breder  J. Sage Elwell 10 Conclusion: The Aesthetic Roots of Environmental Amnesia: The Work of Art and the Imagination of Place  Forrest Clingerman Index

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Book SynopsisMemento mori is a broad and understudied cultural phenomenon and experience. The term “memento mori” is a Latin injunction that means “remember mortality,” or more directly, “remember that you must die.” In art and cultural history, memento mori appears widely, especially in medieval folk culture and in the well-known Dutch still life vanitas paintings of the sixteenth and seventeenth centuries. Yet memento mori extends well beyond these points in art and cultural history. In Death in Documentaries: The Memento Mori Experience, Benjamin Bennett-Carpenter suggests that documentaries are an especially apt form of contemporary memento mori. Bennett-Carpenter shows that documentaries may offer composed transformative experiences in which a viewer may renew one’s consciousness of mortality – and thus renew one’s life.Table of ContentsPreface Acknowledgments Introduction  Basics of Memento Mori  From Art and Cultural History to Contemporary Documentary  Features of Memento Mori and How Memento Mori Functions  Levels at Which Memento Mori is Referenced by Documentaries  A Rhetorically-Oriented Phenomenology Applied to Documentaries  Composed Transformative Experience: Introducing Documentaries as Memento Mori  The Program Ahead 1 Memento Mori in Art and Literature  1.1 Memento Mori in Art: As Symbol and as Picture   1.1.1 Memento Mori as Religious Image   1.1.2 Memento Mori as Still Life and as Portraiture   1.1.3 Memento Mori as Visual Quotation in Art, Including Photography  1.2 Memento Mori in Literature: As Verbal, Literary, and Ideational   1.2.1 Memento Mori as Picture Nomenclature and Verbal Instruction   1.2.2 Memento Mori as Reference in Literature: Verbatim and Ideational  1.3 Memento Mori in Film and Television 2 Charles and Ray Eames’s Powers of Ten as Memento Mori  2.1 The Eameses as Designers of Experiences that Communicate Ideas  2.2 Levels at Which Memento Mori is Referenced by Powers   2.2.1 Symbolic, Verbal, and Ideational Memento Mori in Powers   2.2.2 Memento Mori as Mortality-Index in Powers   2.2.3 Memento Mori as Convention and Experience in or Related to Powers  2.3 The Intellectually Transformative Point of Memento Mori Experience, Referenced by Powers 3 Memento Mori as “Consciousness of Mortality” and as a Cultural Phenomenon  3.1 Memento Mori is an Index of Death   3.1.1 Memento Mori (in Any Form) Refers to Death   3.1.2 Memento Mori Relies upon Consciousness, Memory in Particular  3.2 Memento Mori is Also an Artificial Convention   3.2.1 Memento Mori is an Artifice with a History or Cultural Genealogy that Relies upon Particular Social Reception   3.2.2 Memento Mori Relates to Various and Specific Genres, Media, and Materials  3.3 Memento Mori as Composed Transformative Experience   3.3.1 General Aspects of Memento Mori Experience   3.3.2 Intellectually, Ethically, and Affectively Transformative Elements of Memento Mori Experience  3.4 A Contemporary Form of Memento Mori: Documentaries 4 Ethical Memento Mori: Wim Wenders’s Notebook on Cities and Clothes  4.1 Wenders as Contemplative Documentarian of Mortals  4.2 Levels at Which Memento Mori is Referenced by Notebook   4.2.1 Memento Mori as Symbolic, Verbal, and Ideational in Notebook   4.2.2 Memento Mori as Mortality-index in Notebook   4.2.3 Memento Mori as Convention and Experience in or Related to Notebook  4.3 The Ethically Transformative Point of Memento Mori Experience, Referenced by Notebook 5 Documentaries as Contemporary Memento Mori  5.1 Documentaries Index Death  5.2 Documentaries Also Rely on Convention with a Particular History and Function  5.3 Documentaries as Composed Transformative Experience   5.3.1 Documentaries as Intellectually Transformative: Determining and Distinguishing the Real from Irreal   5.3.2 Documentaries as Ethically Transformative: Contemplating Appropriate Responses to the Mortal Condition   5.3.3 Documentaries as Affectively Transformative: Moving Individuals into Distinctive Human Experience  5.4 Levels of Analysis by Which Memento Mori is Identified in Specific Documentaries 6 Quintessential Memento Mori Experience: Derek Jarman’s Blue (1993)  6.1 A Word on Jarman as Ecstatic Seer  6.2 Levels at Which Memento Mori is Referenced by Blue   6.2.1 Memento Mori as Verbal, Literary, and Ideational in Blue   6.2.2 Memento Mori as Mortality-index and convention in or related to Blue  6.3 The Affectively Transformative Point of Memento Mori Experience, Referenced by Blue 7 Personal Memento Mori: The Iconic 9/11 Footage and the Threat of Death  7.1 The Viewer as Contemplative Seer of the Threat of Death   7.1.1 The 12th of September, 2001, Comet Burger Diner, usa   7.1.2 When Memento Mori Strikes Close  7.2 Levels at Which Memento Mori is Referenced by the 9/11 Footage   7.2.1 Memento Mori as Symbolic, Ideational, and Composed in the 9/11 Footage   7.2.2 Memento Mori as Mediated Mortality-index, Indicated by the 9/11 Footage  7.3 Personally Transformative Points of Memento Mori Experience, Referenced by the 9/11 Footage   7.3.1 Realizing One’s Place as a Mortal in a Vast Cosmos   7.3.2 “Making one’s life” as a Mortal in 21st Century “glocal” Society   7.3.3 Moving One’s Self into Distinctive Human Experience  7.4 Counterpoint: Memento Mori as Death Threat in Extremist YouTube Videos 8 Conclusion and Future Prospects  8.1 After Death in Documentaries  8.2 From Memento Mori to Memento Vivere?  8.3 Memento Mori in New Media Environments References  Bibliography  Archives and Special Sites  Footage  Filmography (Chronological) Index

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Book SynopsisPlotinus and the Moving Image offers the first philosophical discussion on Plotinus' philosophy and film. It discusses Plotinian concepts like "the One" in a cinematic context and relates Plotinus' theory of time as a transitory intelligible movement of the soul to Bergson’s and Deleuze’s time-image. Film is a unique medium for a rapprochement of our modern consciousness with the thought of Plotinus. The Neoplatonic vestige is particularly worth exploring in the context of the newly emerging “Cinema of Contemplation.” Plotinus' search for the "intelligible" that can be grasped neither by sense perception nor by merely logical abstractions leads to a fluent way of seeing. Parallels that had so far never been discussed are made plausible. This book is a milestone in the philosophy of film. Contributors are: Cameron Barrows, Thorsten Botz-Bornstein, Michelle Phillips Buchberger, Steve Choe, Stephen Clark, Vincenzo Lomuscio, Tony Partridge, Daniel Regnier, Giannis Stamatellos, Enrico Terrone, Sebastian F. Moro Tornese and Panayiota Vassilopoulou.Trade Review"Plotinus and the Moving Image is not simply the first philosophical discussion on Plotinus' philosophy and film theory but rather a true Plotinian attempt to philosophize about cinema." - Gabriel Martino, Consejo Nacional de Investigaciones Científicas y Técnicas, in: The International Journal of the Platonic Tradition 13 (2019), 87-123Table of ContentsNote on the Cover Illustration Preface  Nathan Andersen Notes on Contributors Introduction  Thorsten Botz-Bornstein and Giannis Stamatellos 1 “Cut Away Excess and Straighten the Crooked:” The Simplicity of Contemplative Cinema in the Light of Plotinus’ Philosophy  Thorsten Botz-Bornstein 2 The One in Photogénie: Plotinus and Jean Epstein  Steve Choe 3 Is the Universe a Work of Art that We Can Perceive in a Film?  Tony Partridge 4 Heracles, Hylas, and the Uses of Reflection  Stephen R.L. Clark 5 Beyond the Moving Images: A Plotinian Reading of The Truman Show  Giannis Stamatellos 6 Being as Illumination of the One and Its Manifestation through Cinematic Images  Sebastian F. Moro Tornese 7 Moving Image and Conversion: A Neo-Platonic Film Theory  Vincenzo Lomuscio 8 Character, Spectator, Film: On Cinema as a Plotinian Hierarchy  Enrico Terrone 9 Plotinus and Tarkovsky on Experience and the Transparency of Reality  Daniel Regnier 10 Images of a Moving Self: Plotinus and Bruce Nauman  Panayiota Vassilopoulou 11 Avoiding the “Dead Thing Decorated.” Neoplatonism and Daniel Martin: Towards a Poetics of Film?  Michelle Phillips Buchberger 12 The Mystical and the Beautiful: The Construction of a Plotinian Aesthetics of Film  Cameron Barrows Filmography Index

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Book SynopsisIn Roman Ingarden’s Philosophy of Literature Wojciech Chojna discusses Ingarden’s theory of literary works and develops a phenomenological account of identity which accommodates differences in interpretations and value judgments without succumbing to relativism. The latter is overcome not through falling back on essentialism but from within relativism. Literature offers us diverse experiences changing our perceptions of ourselves and the worlds we live in. Absolutism proclaiming unmitigated access to the meaning of literary texts is intolerant of differences and leads to violence in life. Conversely, relativism, in the illusory spirit of radical tolerance, turns meanings and values into historically contingent, incompatible interpretations, where communication and reconciliation is impossible, thus justifying ideological conflicts and violence.Table of ContentsPreface Introduction  Ingarden’s Relevance Today 1 Introduction to the Concept of Identity  Some Traditional Approaches  Ingarden’s General Ontology 2 Nature and Identity of a Literary Work in American Aesthetics  Nelson Goodman’s Syntactical Identity  Richard Wolheim’s Amendment  Psychologism  Semantic Accounts  Joseph Margolis’s Culturally Emergent Objects 3 Phenomenological Concept of Identity  Identity of a Perceptual Object  The Concept of Intentionality  The Concept of Constitution  Ideality and Identity of the Objectivities of Understanding  Husserl’s Theory of Meaning  Ingarden’s Objections to Husserl’s Transcendental Idealism  Hermeneutic Challenges against the Possibility of Transcendental Phenomenology 4 Literary Work as a Schematic Structure  The Notion of a ‘Purely Intentional Object’  Schematism  Structure of a Literary Work of Art  The Stratum of Linguistic Sound Formations  The Stratum of Meanings  Meanings of Sentences  The Stratum of Presented Objects  The Stratum of Schematized Aspects  Objections to Ingarden’s Conception of the Four Strata of Literary Work  The Order of Sequence of Parts  Quasi-judgments 5 Aesthetic Experience and Life of a Literary Work of Art  Aesthetic Experience  Problems Pertaining to Aesthetic Experience  Pre-aesthetic Cognition of a Literary Work of Art  Cognition of an Aesthetic Object  The Work and Its Concretizations  ‘Life’ of a Literary Work of Art 6 Values of Literary Work of Art  Artistic and Aesthetic Values  The Stratum of Sounds and Its Function in the Constitution of Aesthetic Qualities  The Stratum of Meanings and Its Function in the Constitution of Aesthetic Qualities  De Gustibus Non Est Disputandum  Metaphysical Qualities  Poetry as a Means of Cognition 7 The Identity of a Literary Work of Art  Identity of Sounds  Identity of Meanings  Dialectics of Identity  Subjectivism, Relativism and Identity Epilogue Bibliography Index

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Book SynopsisBy way of dialogues, Michael Krausz offers philosophical reflections about his life as philosopher, artist, and musician. He also rehearses his views about relativism, interpretation, creativity, and self-realization. Much of Krausz’s work has been inspired by conversations with thinkers such as Karl Popper, Thomas Kuhn, Isaiah Berlin, the Dalai Lama, and musicians such as Josef Gingold, Frederik Prausnitz, and Luis Biava. While the death of his grandparents in Auschwitz continues to disquiet his consciousness, Krausz’s critiques of versions of Advaitic Hinduism and Tibetan Buddhism led him to a distinctive humanism. This thought-provoking book includes personal and professional accounts about particular philosophers, artists, and musicians. It will edify anyone who, like Krausz, has confronted issues of self-identity and human existence.Table of ContentsAcknowledgments List of Illustrations  Introduction  Andreea Deciu Ritivoi Part 1: My Journey  1Early Years: Geneva, New York, Cleveland  2Music and My Jewish Question  3Rutgers, London School of Economics, Indiana, Toronto, and Oxford  4Bryn Mawr, Philadelphia, Oxford Again, and Other Places  5My Epiphany and Art  6My Music Again  7My India  8Transitions and Trajectories Part 2: Philosophical Reflections  9Relativisms  10Interpretation  11Creativity  12Self-Realization  Postscript Appendices  Appendix A: Chronology  Appendix B: Select Bibliography of Michael Krausz  Appendix C: For Further Reading  Bibliography  Name Index  Subject Index

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Book SynopsisMikhail Lifshitz is a major forgotten figure in the tradition of Marxist philosophy and art history. A significant influence on Lukács, and the dedicatee of his The Young Hegel, as well as an unsurpassed scholar of Marx and Engels’s writings on art and a lifelong controversialist, Lifshitz’s work dealt with topics as various as the philosophy of Marx and the pop aesthetics of Andy Warhol. The Crisis of Ugliness (originally published in Russian by Iskusstvo, 1968), published here in English for the first time, and with a detailed introduction by its translator David Riff, is a compact broadside against modernism in the visual arts that nevertheless resists the dogmatic complacencies of Stalinist aesthetics. Its reentry into English debates on the history of Soviet aesthetics promises to re-orient our sense of the basic coordinates of a Marxist art theory.Table of ContentsList of Illustrations Introduction. Mikhail Lifshitz: A Communist Contemporary  David Riff Foreword 1 Myth and Reality: The Legend of Cubism  ‘Scandal in Art’  Two Appraisals of Cubism  G.V. Plekhanov and Cubism  The Terms ‘Reactionary’ and ‘Bourgeois’  The Revolt against Things  Fusion with Objects as an Ideal  The Evolution of Cubism  Painting in the Other World 2 The Phenomenology of the Soup Can: The Quirks of Taste  The Economy of Painting  Reflection’s Malaise  Conclusion 3 Why am I Not a Modernist? References Index Illustration Section

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Book SynopsisLegibility in the Age of Signs and Machines offers a compelling reflection on what the notion of legibility entails in a machinic world in which any form of cultural expression – from literary texts, films, artworks and museum exhibits to archives, laws, computer programs and algorithms – necessarily partakes in ever-more complex processes of (mass) mediation. Divided over four clusters focusing on desire, justice, machine and heritage, the chapters in the volume explore what makes something legible or illegible to whom or, indeed, what; the kinds of reading, processing or navigating such il/legibility facilitates or forecloses; and the role critical (media) theory, literary studies and the Humanities in general can play in tackling these and related issues. Contributors: Ernst van Alphen, Anke Bosma, Siebe Bluijs, Sean Cubitt, Colin Davis, Katrine Dirckinck-Holmfeld, David Gauthier, Giovanna Fossati, Isabel Capeloa Gil, Pepita Hesselberth, Yasco Horsman, Janna Houwen, Looi van Kessel, Esther Peeren, Seth Rogoff, Roxana Sarion, Frederik Tygstrup, Inge van de Ven, Ruby de Vos, Peter Verstraten, Tessa de Zeeuw

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Book SynopsisWhat is the relationship between the general, abstract norm and the singular, concrete case that sometimes affirms a parallel, contrasting, norm? The present essay engages with this question. The argument stems from an analysis of extraordinary singular cases that sometimes emerge, sometimes are “produced” or “promoted” as exemplary (for strategic reasons, like in law). In this essay Angela Condello argues that approaching normativity in art and law from the perspective of the singular case also illustrates the theoretical importance of interdisciplinary legal scholarship, since the singularity creates room for extra-legal values to emerge as legitimate demands, desires, and needs.Table of ContentsBetween Ordinary and Extraordinary The Normativity of the Singular Case in Art and Law  Angela Condello  Abstract  Keywords  Introduction  Part 1: The Extraordinary in Art  Part 2: The Extraordinary in Law  Conclusion  Bibliography

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Book SynopsisIn Glorious Temples or Babylonic Whores, Anne-Françoise Morel offers an account of the intellectual and cultural history of places of worship in Stuart England. Official documents issued by the Church of England rarely addressed issues regarding the status, function, use, and design of churches; but consecration sermons turn time and again to the conditions and qualities befitting a place of worship in Post-Reformation England. Placing the church building directly in the midst of the heated discussions on the polity and ceremonies of the Church of England, this book recovers a vital lost area of architectural discourse. It demonstrates that the religious principles of church building were enhanced by, and contributed to, scientific developments in fields outside the realm of religion, such as epistemology, the theory of sense perception, aesthetics, rhetoric, antiquarianism, and architecture.Trade ReviewShortlisted for the Society of Architectural Historians of Great Britain (SAHGB) Alice Davis Hitchcock Medallion 2020Table of ContentsContents AcknowledgmentsI PrefaceI List of IllustrationsV Introduction: The Glorious Jerusalem and the Harlot Babylon  1 Consecration Sermons in the Church of England  2 A Complicated Religious Landscape  3 Labelling Religion  4 Religious Difference and Church Buildings  5 The Structure of the Book 1 What? How? Why?: Church Consecration in England 1549–1715, an Unestablished Ceremony  1 Books of Homilies, 1562–63: on the Use of the Church Building  2 Fading of the Ritual  3 “Forms” of Consecration  4 Conclusion 2 Preaching in and on ‘the Temple’: Types and Models for Church Building  1 Biblical Examples as Divine Inspiration for Holy Places  2 The Foundation of the Church: Patriarchs and Anglo-Saxon Early Christianity  3 Bellarmine, the Voice of a Respected Roman Catholic Opponent  4 Conclusion 3 The Spirit of Holiness  1 The Holiness, in Spirit, and in Truth  2 The Building and the Idol  3 Conclusion 4 Sense Perception and the Performativity of Architecture  1 The Devotee’s Sensory Impressions  2 Senses, Passions and Magnificence in the Seventeenth Century  3 Rhetoric of Architecture  4 Conclusion 5 The Culture of Church Building at the Crossroads of History, Theology, and Architecture  1 Describing the Church Building: from Confessional Interest to Architectural History  2 Building a Historical Lineage  3 The Architectural Debate  4 Conclusion Conclusion 6 Gazetter  Preface List of Case Studies Case Studies Bibliography Index

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Book SynopsisThe aim of this essay is to analyse TV series from the point of view of philosophical aesthetics. Aiming to show how philosophy may contribute to “seriality studies”, Andrzejewski and Salwa focus on seriality as a factor which defines the structure of TV series, their aesthetic properties, as well as their modes of reception. TV series have been studied within media theory and cultural studies for quite a long time, but they have been approached mainly in terms of their production, distribution, and consumption across various and changing social contexts. Following the agenda of philosophical aesthetics Andrzejewski and Salwa claim instead seriality implies a sort of normativity, i.e. that it is possible to indicate what features a television show has to have in order to be a serial show as well as the manner in which it should be watched if it is to be experienced as a serial work.Table of ContentsLaw and TV Series  Adam Andrzejewski and Mateusz Salwa  Abstract  Keywords  1 Introduction: Law, TV Series and Aesthetics  2 Seriality in Art and Culture  3 Authority, Norms, and Categories  4 Qualities and Complexities of Television  5 Everything Is Connected: The Relations between Episodes  6 The Aesthetics of Watching  7 Conclusion  Bibliography  Internet Sources

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Book SynopsisIn Zhu Guangqian and Benedetto Croce on Aesthetic Thought, Mario Sabattini analyses Croce’s influence on the aesthetic thought of Zhu Guangqian. Zhu Guangqian is one of the most representative figures of contemporary Chinese aesthetics. Since the '30s, he had an active role in China both on the literary and philosophical scenes, and, through his writings, he exerted an important influence in the moulding of numerous generations of intellectuals. Some of his works have been widely read, and they still provoke considerable interest in China, on the mainland as well as in Taiwan and Hong Kong. The volume also presents a revised translation of Zhu Guangqian’s Wenyi xinlixue (Psychology of Art and Literature).Table of ContentsPreface Thematic Bibliography of Mario Sabattini Contents Introduction: Zhu Guangqian and Croce Zhu Guangqian: The Psychology of Art and Literature Foreword 1 Analysis of Aesthetic Experience: the Intuition of Form 2 Analysis of Aesthetic Experience: “Psychical Distance” 3 Analysis of Aesthetic Experience: the Ego-Object Identity (Empathy) 4 Analysis of Aesthetic Experience: Aesthetic Sense and Physiology (the Theory of “Inner Imitation”) 5 Some Erroneous Interpretations of Aesthetic Experience 6 Aesthetic Sense and Association of Ideas 7 Art and Morality: a Historical Review 8 Art and Morality: towards a Theory 9 The Beautiful and the Ugly in Nature: the Errors in Idealism and in Naturalism 10 What Do We Call “Beautiful” 11 A Criticism of the Crocian Aesthetic: The Problems of Communication and Value 12 Play and the Origin of Art 13 Artistic Creation: Imagination and Inspiration 14 Artistic Creation: Genius and Human Effort Bibliography Index

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Book SynopsisAwarded an Honorable Mention for the 2022 Society of Professors of Education Outstanding Book Award Imagining Dewey features productive (re)interpretations of 21st century experience using the lens of John Dewey’s Art as Experience, through the doubled task of putting an array of international philosophers, educators, and artists-researchers in transactional dialogue and on equal footing in an academic text. This book is a pragmatic attempt to encourage application of aesthetic learning and living, ekphrasic interpretation, critical art, and agonist pluralism. There are two foci: (a) Deweyan philosophy and educational themes with (b) analysis and examples of how educators, artists, and researchers envision and enact artful meaning making. This structure meets the needs of university and high school audiences, who are accustomed to learning about challenging ideas through multimedia and aesthetic experience. Contributors are: James M. Albrecht, Adam I. Attwood, John Baldacchino, Carolyn L. Berenato, M. Cristina Di Gregori, Holly Fairbank, Jim Garrison, Amanda Gulla, Bethany Henning, Jessica Heybach, David L. Hildebrand, Ellyn Lyle, Livio Mattarollo, Christy McConnell Moroye, María-Isabel Moreno-Montoro, María Martínez Morales, Stephen M. Noonan, Louise G. Phillips, Scott L. Pratt, Joaquin Roldan, Leopoldo Rueda, Tadd Ruetenik, Leísa Sasso, Bruce Uhrmacher, David Vessey, Ricardo Marín Viadel, Sean Wiebe, Li Xu and Martha Patricia Espíritu Zavalza.Trade Review“The ancients posited ‘a quarrel between poetry and philosophy’: yet centuries later, work occasionally arises that throws into dazzling relief the interplay between fact and value, stasis and process, sedimented past and the spark of innovation. With one foot firmly planted in Dewey’s Art as Experience and the other mid-step into our present day, Imagining Dewey mines Deweyan/American pragmatist ideas on creativity, innovation, truth, and flourishing. It provides a refreshing dialogue between threads of fields too often artificially separated, as it connects resources in American, continental, and postmodern traditions with foundational insights and concerns of Plato and Aristotle. As internationally, cultures struggle today to integrate STEM fields with MESH fields (media literacy, ethics, sociology & history), Imagining Dewey provides a tapestry of theories, practices, hyperlinks, illustrations, and case examples highlighting practices of creative innovation that offer direction for both personal development and democratic, sociopolitical growth. Its energy of analysis is akin to mid-20th c. critical social theory critiques of increasingly dominative configurations of media, economics, and power: but in the spirit of early U.S. pragmatism, the essays focus “a pedagogy and politics of possibility” on 21st c. dynamics for new directions and solutions.” – L. Ryan Musgrave, PhD, Rollins College, Florida, USA “Imagining Dewey takes up the philosopher's 1934 text, Art as Experience, and demonstrates its pertinence and thought-provoking power for our day. Maarhuis and Rud have assembled a wide-ranging set of essays that illuminate our aesthetic experience of contemporary artistic and non-artistic works of very different kinds. Their imaginative rediscovery of Dewey's insights and interests in the present will be revitalizing for scholars of aesthetic education.” – René V. Arcilla, PhD, New York University, New York, USA “Enter this book and fall into Dewey’s promises. Imagining Dewey by Maarhuis and Rud pulls together philosophy, pedagogy, and making to create a dialogic canvas of polyglossia on the aesthetics of unfolding life-learning. This collection bids for a reader response that experiences the art of living fully alive, in the halo of the present flash and flow, awake to the quickening of unity and dissonance of the real, the complexity of beauty, the freedom of harmony, the openness of rhythm. Experience the art of imagining here, cultivate a recovery of the soul. Read this and feel yourself change in the experience. A must-read for all graduate programs.” – Pauline Sameshima, PhD, Lakehead University, Ontario, Canada “Dewey scholars, arts-based researchers and arts-integrated teachers, progressive educators, and all people who like to view and discuss art will benefit from this vigorous presentation of artworks created and recreated through the aesthetic experience of explorations of the connecting links among artists and their audiences. The text provides multiple inroads to curricular innovation. It is profoundly pluralistic and, therefore, a treatise on the connecting link between the arts and social justice.” – Susan Finley, PhD, Washington State University, Washington, USATable of ContentsForeword  Jim Garrison List of Figures Notes on Contributors Introduction  Patricia L. Maarhuis and A. G. Rud Part 1: Art Is/Is Not Experience 1. Art as Experience, Experience as Art  M. Cristina Di GreGori, Livio Mattarollo and Leopoldo Rueda 2. Travels through China in the Dewey and Barnes Letters: Arts, education, and politics  Carolyn L. Berenato 3. Art Is (Not) Experience: Engaging Dewey in Reverse  John Baldacchino Part 2: Performance & Happenings 4. The Aesthetics of Rehearsal  Scott L. Pratt 5. Building Experience: Fiction Account as Narrative Support and Product of Artistic Investigation  Martha Patricia Espíritu Zavalza 6. Collapsing Life and Art  David Vessey 7. The Artworks of Women: Weaving in a Semiotic and Pragmatic Performative Action  María-Isabel Moreno-Montoro Part 3: Encounters & Relationships 8. Dewey’s Art as Experience: A Guide in an Age of Personal Technology  David L. Hildebrand 9. Images of Injustice: The Problem of Visual Culture in Dewey’s Aesthetics  Jessica A. Heybach 10. Illumination: Teacher Education and the Aesthetic Encounter  Sean Wiebe and Ellyn Lyle Part 4: Dissonance & Reflection 11. Experiencing Art and Social Science: A Multimodal Poetic Perception of Social Ecological Cohesion  Adam I. Attwood 12. Aesthetic Experiences and Dewey’s Descendants: Poetic Inquiry as a Way of Knowing  Amanda N. Gulla 13. “Art Is More Moral than Moralities”: Deweyan Reflections on Literature in/as Education  James M. Albrecht 14. Father Catich and the Clean-Cut Christs: Re-presenting American Values Then and Now  Tadd Ruetenik Part 5: Time, Space, & Nature 15. Eco-Aesthetic Experiences: A Deweyan Framework for Ecological Aims in Schools  Christy McConnell Moroye and P. Bruce Uhrmacher 16. Temporality and Spatiality in Artwork: Dewey and Traditional Chinese Painting  Li Xu 17. Articulation from an Aesthetic Environment: Experience of research A/r/tographic  María Martínez Morales 18. Aesthetic Experiences of Making with Paper: The (Artist-Infused) Corner for Under Eight Year Olds  Louise G. Phillips Part 6: Transformation & The Work of Art 19. Sincerity in the Work of Art  Bethany N. Henning 20. Practicing the New School: Dewey, A/r/tography and the Intrusion of Poetics in Education  Leísa Sasso 21. Arts Based Educational Research and Social Transformation: A Project of Social A/r/tography  Ricardo Marín-Viadel and Joaquin Roldan 22. Imagination, Inquiry, and Voice: A Deweyan Approach to Education in a 21st Century Urban High School  Amanda N. Gulla, Holly Fairbank, and Stephen Noonan Index

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Book SynopsisWhat is the relationship between street art and the law? In A Philosophy Guide to Street Art and the Law, Andrea Baldini argues that street art has a constitutive relationship with the law. A crucial aspect of the identity of this urban art kind depends on its capacity to turn upside down dominant uses of public spaces. Street artists subvert those laws and social norms that regulate the city. Baldini shows that street art has not only transformed public spaces and their functions into artistic material, but has also turned its rebellious attitude toward the law into a creative resource. He aims at elucidating and arguing for this claim, while drawing important implications at the level of street art’s metaphysics, value, and relationship with rights of intellectual property, in particular copyright and moral rights. At the other end of the spectrum of contractual art, street art is outlaw art.Table of ContentsAcknowledgments IX List of Illustrations X A Philosophy Guide to Street Art and the Law  Andrea Baldini  Abstract  Keywords  Introduction: I Fought the Law, and the Law Swanned  Part 1. Walls, Laws, and Vandals: Is Street Art Essentially Illegal?  Part 2. (Not) Above the Law: Art or Vandalism?  Part 3. Creativity, Profit, and Commercial Exploitation: Should Property Rights Extend to Street Art?  Conclusion: an Outlaw Art  References

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Book SynopsisHow to Do Things with Affects develops affect as a highly productive concept for both cultural analysis and the reading of aesthetic forms. Shifting the focus from individual experiences and the human interiority of personal emotions and feelings toward the agency of cultural objects, social arrangements, and aesthetic matter, the book examines how affects operate and are triggered by aesthetic forms, media events, and cultural practices. Transgressing disciplinary boundaries and emphasizing close reading, the collected essays explore manifold affective transmissions and resonances enacted by modernist literary works, contemporary visual arts, horror and documentary films, museum displays, and animated pornography, with a special focus on how they impact on political events, media strategies, and social situations. Contributors: Ernst van Alphen, Mieke Bal, Maria Boletsi, Eugenie Brinkema, Pietro Conte, Anne Fleig, Bernd Herzogenrath, Tomáš Jirsa, Matthias Lüthjohann, Susanna Paasonen, Christina Riley, Jan Slaby, Eliza Steinbock, Christiane Voss.Trade Review"The major strengths of How to Do Things with Affects [...] are the multidisciplinary exemplification of a very general schema and the refinement of what exactly is meant by the stylish phrase, 'to restore agency to form.' Scholars working to recuperate literature and art as suitable objects of inquiry in affect studies will find several essays here that bolster that effort. All in all, if something of a formalist turn is underway in affect theory, How to Do Things with Affects [...] is an enriching volume that can serve as an introduction to that turn or an abundant development of it. - Stephanie Amon, Afterimage (2020) 47 (2): 93–96.Table of ContentsNotes on Contributors Introduction: Mapping Affective Operations  Ernst van Alphen and Tomáš Jirsa PART 1 Triggering the Affects 1 Reading Irony through Affect: the Non-Sovereign Ironic Subject in C.P. Cavafy’s Diary  Maria Boletsi 2 (An)Aesthetics of Affect: the Case of Hyper-Realism  Pietro Conte 3 Relational Affect: Perspectives from Philosophy and Cultural Studies  Jan Slaby 4 (Nearly) Nothing to Express : Horror : some Tread : a Toroid  Eugenie Brinkema 5 Integrating Affect and Language: Essayism as an Affective Practice in Robert Musil’s The Man Without Qualities  Anne Fleig and Matthias Lüthjohann PART 2 Sensations, Resonances, and Transformations 6 Affective Disfigurations: Faceless Encounters between Literary Modernism and the Great War  Tomáš Jirsa 7 Monstrous Resonances: Affect and Animated Pornography  Susanna Paasonen 8 Reading for Affects: Francis Bacon and the Work of Sensation  Ernst van Alphen PART 3 Affects as Triggers 9 Affectively Effective: Affect as an Artistic-Political Strategy  Mieke Bal 10 Affect Is the Medium  Christiane Voss 11 Et in Academia Ego: Affect and Academic Writing  Bernd Herzogenrath 12 The Arab Spring’s Stranger: the Affective Media Phenomenon of The Girl in the Blue Bra  Christina Riley 13 Affective Exchange in Portraiture: to Follow J. Jackie Baier into the Photographic Dissolve  Eliza Steinbock Name Index

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Book SynopsisThis book shows how and why debates in the philosophy of film can be advanced through the study of the role of images in Plato’s dialogues, and, conversely, why Plato studies stands to benefit from a consideration of recent debates in the philosophy of film. Contributions range from a reading of Phaedo as a ghost story to thinking about climate change documentaries through Plato’s account of pleonexia. They suggest how philosophical aesthetics can be reoriented by attending anew to Plato’s deployment of images, particularly images that move. They also show how Plato’s deployment of images is integral to his practice as a literary artist. Contributors are Shai Biderman, David Calhoun, Michael Forest, Jorge Tomas Garcia, Abraham Jacob Greenstine, Paul A. Kottman, Danielle A. Layne, David McNeill, Erik W. Schmidt, Timothy Secret, Adrian Switzer, and Michael Weinman.Table of ContentsAcknowledgements List of Illustrations Notes on Contributors Introduction  Shai Biderman and Michael Weinman Part 1: From Plato to the Moving Image: Reorienting Film-Philosophy 1 Accounting for Images in the Sophist  Abraham Jacob Greenstine 2 Pseudos, Kalos and Eikōs Mythos in Plato and Film  Danielle A. Layne and Erik W. Schmidt 3 Dead Ringers: Plato and Turning the Camera Back  Timothy Secret 4 The Cinematic Image as Platonic Simulacrum  Jorge Tomas Garcia 5 The Myth of Er as Rationalizing Recording Device  Michael Weinman Part 2: From the Moving Image to Plato: Reorienting Plato Studies 6 Learning to Notice: Light and Shadow, from Chauvet Cave to Plato’s Cave and Beyond  Paul A. Kottman 7 Phaedo: a Ghost Story  David McNeill 8 Fascism Re-performed: Benjaminian Mimesis, Platonic Methexis and Bertolucci’s The Conformist  Adrian Switzer 9 Entranced by the Spectacle of Truth: Wonder and Ascent in Plato and Terrence Malick’s Knight of Cups and To the Wonder  David H. Calhoun 10 Plato, Pleonexia and Environmental Documentaries  Michael Forest 11 Truth, Reality and Fiction in the Documentary of Errol Morris: Refiguring ‘Platonism’ in Epistemology and Aesthetics  Shai Biderman Index

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Book SynopsisSelf-reflection is fundamental for human thinking on many levels. Philosophy has described the mind's capacity to observe itself as a core element of human existence. Political and social sciences have shown how modern democracies depend on society's ability to critically reflect on their own values and practices. And literature of all ages has proven self-reflexivity to be a crucial trait of cultural production. This volume provides the first diachronic panorama of genres, forms, and functions of literary self-reflection and their connections with social, political and philosophical discourses from the 17th century to the present. Far beyond the usual focus on postmodernist opacity, these contributions present a rich tradition of critical transparency: Literary texts that show us what is behind and beyond them.Table of ContentsAcknowledgements Notes on Contributors Introduction Read Thyself: Cultural Self-reflection and the Relevance of Literary “Self”-labels  Florian Lippert and Marcel Schmid Reflections on Reflection Autoreferentiality, Autoreflexivity, Selftransparency  Oliver Jahraus – 1600 – 1 Cervantes’s and Unamuno’s Metalepsis Hope Unraveled in Don Quixote: Self-Reflexivity and the Problem of Metalepsis in Cervantes, Unamuno, and Bloch  Konstantin Mierau – 1700 – 2 Hamann’s Latent Parrhesia Intertextual Exploration of the Self in Sokratische Denkwürdigkeiten  Andrea Krauss 3 Klopstock’s Historiography Written out of Time: Inventing What Happened in Klopstock  Kristina Mendicino – 1800 – 4 Kleist’s Performativity Transmission Kleist  Marcel Schmid 5 Mallarmé’s Rhetoric Allegorical Self-Reflexivity in Mallarmé’s Sonnet en-x  Evelyn Dueck 6 Nietzsche’s Masks “Aber ich notire mich, für mich”: Nietzsche and Self-Reflection  Barbara Naumann – 1900 – 7 Celan and the Timeless A Secret Echo Outside of Time: Paul Celan and the Autumn Crocus  Jason Kavett Letter from Paul Celan to Gisèle Celan-Lestrange  Translated by Jason Kavett 8 Pastior’s Poetics The Medium of Poetry  Jörg Kreienbrock – 2000 – 9 Fforde’s Intermediality Books Without Borders: Self-Referentiality and Intermedial Games in Jasper Fforde’s Thursday Next Series  Vera Alexander 10 Autobiographies: Kureishi, Miller, Wiebe, Coetzee, and Bechdel Self-Reflexivity in Contemporary English Auto/Biographies  Anne Rüggemeier 11 Brandt’s and Ja, Panik’s Auto-fiction “Only half of what I am saying is true:” Deconstructing Authorial Authority in Contemporary German Literature  Antonius Weixler Index

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Book SynopsisPhotography was invented in the mid-nineteenth century, and ever since that moment painters have been asking what they are there for. Everyone has their own strategy. Some say they do not paint what is there, but their impressions. Others paint things that are not seen in the world, and therefore cannot be photographed, because they are abstractions. Others yet exhibit urinals in art galleries. This may look like the end of art but, instead, it is the dawn of a new day, not only for painting but – this is the novelty – for every form of art, as well as for the social world in general and for industry, where repetitive tasks are left to machines and humans are required to behave like artists.Table of ContentsFrom Fountain to Moleskine: the Work of Art in the Age of Its Technological Producibility  Maurizio Ferraris  Abstract  Keywords  1 Pen, Pencil, Pen Drive  2 Mona Lisa. The Canon  3 Fountain. The Break  4 Brillo Box. The Reconciliation  5 Moleskine. The Fusion

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Book SynopsisLaw and images are generally not regarded as having much in common, since law is based on textual and images are based on visual information. The paper demonstrates that quite to the contrary, legal norms can be understood as models of intended moral behaviour and hence as images, in the same way as images can be said to have a normative and hence regulatory effect. Following an interdisciplinary approach along the lines of cultural research, the paper explains how images “function” to lawyers and how the law “works” to those trained in the visual sciences. In addition, laying the foundations for a research field “Law and Images” in parallel to the well-established “Law and Literature”, the paper describes the main avenues for future research in this field. Also, the paper contains a brief systematization of images in law, of law and for law.

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Book SynopsisCities are defined by their complex network of busy streets and the multitudes of people that animate them through physical presence and bodily actions that often differ dramatically: elegant window-shoppers and homeless beggars, protesting crowds and patrolling police. As bodies shape city life, so the city’s spaces, structures, economies, politics, rhythms, and atmospheres reciprocally shape the urban soma. This collection of original essays explores the somaesthetic qualities and challenges of city life (in Europe, Asia, Africa, and the Americas) from a variety of perspectives ranging from philosophy, urban theory, political theory, and gender studies to visual art, criminology, and the interdisciplinary field of somaesthetics. Together these essays illustrate the aesthetic, cultural, and political roles and trials of bodies in the city streets.Trade Review"Shusterman and his colleagues launched a significant volume of essays about a new dimension of somaesthetics: bodies in the street. It shows somaesthetics' usefulness and ability to interpret every dimension of human life." - Alexander Kremer, University of Szeged, in: Pragmatism Today Vol. 11 (1/2020) "[D]oes somaesthetics provide a basis for critical assessment? Shusterman makes a strong case for the importance of the body and its role in all aspects of human experience. [...] The audience for this book may include aestheticians, but it offers potentially a much broader scope of interest, including the place of the body in urban studies, feminist theory, revolutionary politics, as well as literature and art." - Curtis L. Carter, Marquette University, in: The Journal of Aesthetics and Art Criticism Vol. 78 (issue 2/2020) "Si tratta, pertanto, di un volume importante e decisivo nello sviluppo della somaestetica proposta da Shusterman, una tappa che prelude a passi ulteriori ma che già fin da adesso rimodula ulteriormente e in modo efficace il cammino della somaestetica." - Leonardo Distaso, University of Naples, in: Aisthema, International Journal Vol. VI (2019) “[A] significant contribution in imposing somaesthetics as one of the most open and pluralist fields in contemporary philosophy.” - Stefano Marino, University of Bologna, in: The Journal of Somaesthetics 6:2 (2020).Table of ContentsList of Illustrations Notes on Contributors Introduction: Bodies in the Streets and the Somaesthetics of City Life  Richard Shusterman Part I: The Soma, the City, and the Weather 1. Bodies in the Streets: The Soma, the City, and the Art of Living  Richard Shusterman 2. The Weather-Worlds of Urban Bodies  Mădălina Diaconu 3. White on Black: Snow in the City, Skiing in Copenhagen  Henrik Reeh Part II: Festival, Revolution, and Death 4. Body Politics: Revolt and City Celebration  Matthew Crippen 5. Bodies in the Streets of Eastern Europe: Rhetorical Space and the Somaesthetics of Revolution  Noemi Marin 6. From Dancing to Dying in the Streets: Somaesthetics of the Cuban Revolution in Memories of Underdevelopment and Juan of the Dead  Marilyn Miller Part III: Performances of Resistance, Gender, and Crime 7. “Street” is Feminine in Italian: Feminine Bodies and Street Spaces  Ilaria Serra 8. Bodies in Alliance and New Sites of Resistance: Performing the Political in Neoliberal Public Space  Federica Castelli 9. East End Prostitution and the Fear of Contagion: On Bodily Consciousness of the Ripper Case  Chung-jen Chen 10. Towards a Somaesthetic Conception of Culture in Iran: Somaesthetic Performances as Cultural Praxis in Tehran  Alireza Fakhrkonandeh Part IV: Bodies in the Streets of Literature and Art 11. “Terrae Incognitae”: The Somaesthetics of Thomas De Quincey’s Psychogeography  Evy Varsamopoulou 12. The Empty Spaces You Run Into: The City as Character and Background in William S. Burroughs’s Junky, Queer, and Naked Lunch  Robert Jones 13. Somaesthetics and the Sublime: Varanasi in Modern and Contemporary Indian Art  Pradeep Dhillon Name Index Subject Index

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Book SynopsisEchoes from a Child’s Soul: Awakening the Moral Imagination of Children presents remarkable poetry inspired by aesthetic education methodology created by children that were labelled academically, socially, and/or emotionally at-risk. Many children deemed average or below-grade level composed poetry beyond their years revealing moral imagination. Art psychology and aesthetic methodology merge to portray the power of awakening children’s voices once silenced. The children’s poetry heralds critical and empathic messages for our future. This book proposes an overwhelming need for change in America’s public-school education system so that no child is ignored, silenced, deemed less than, or marginalized.Table of ContentsPreface List of Figures 1 Why Is Aesthetic Education Important?  1 Introduction  2 Background  3 Art and Moral Imagination in Child Development  4 Visual Thinking, Art & Cognition  5 Visual Thinking and Human Development  6 Reflective Intelligence, Art and Moral Imagination  7 Moral Imagination and Art 2 Releasing Hope: A Spiral of Light  1 The Story of Emily 3 Meeting Ruby Bridges: Moral Imagination Released 4 Blue Lavender Wanderer: A Child’s Soulful Voice Revealed 5 Poetic Imagination 6 Envisioning Thinking: Heart to Heart  1 What Do We Know? 7 Epilogue: Moral Imagination in an Island Culture: The Aran Island Child  1 Creating the Island Map Mural  2 The Aran Island Map Mural Travels to the Summit of Croagh Patrick: A Prayer for the Children of Our World References Index

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Book SynopsisEchoes from a Child’s Soul: Awakening the Moral Imagination of Children presents remarkable poetry inspired by aesthetic education methodology created by children that were labelled academically, socially, and/or emotionally at-risk. Many children deemed average or below-grade level composed poetry beyond their years revealing moral imagination. Art psychology and aesthetic methodology merge to portray the power of awakening children’s voices once silenced. The children’s poetry heralds critical and empathic messages for our future. This book proposes an overwhelming need for change in America’s public-school education system so that no child is ignored, silenced, deemed less than, or marginalized.Table of ContentsPreface List of Figures 1 Why Is Aesthetic Education Important?  1 Introduction  2 Background  3 Art and Moral Imagination in Child Development  4 Visual Thinking, Art & Cognition  5 Visual Thinking and Human Development  6 Reflective Intelligence, Art and Moral Imagination  7 Moral Imagination and Art 2 Releasing Hope: A Spiral of Light  1 The Story of Emily 3 Meeting Ruby Bridges: Moral Imagination Released 4 Blue Lavender Wanderer: A Child’s Soulful Voice Revealed 5 Poetic Imagination 6 Envisioning Thinking: Heart to Heart  1 What Do We Know? 7 Epilogue: Moral Imagination in an Island Culture: The Aran Island Child  1 Creating the Island Map Mural  2 The Aran Island Map Mural Travels to the Summit of Croagh Patrick: A Prayer for the Children of Our World References Index

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Book SynopsisThis transdisciplinary project represents the most comprehensive study of imagination to date. The eclectic group of international scholars who comprise this volume propose bold and innovative theoretical frameworks for (re-) conceptualizing imagination in all of its divergent forms. Imagination and Art: Explorations in Contemporary Theory explores the complex nuances, paradoxes, and aporias related to the plethora of artistic mediums in which the human imagination manifests itself. As a fundamental attribute of our species, which other organisms also seem to possess with varying degrees of sophistication, imagination is the very fabric of what it means to be human into which everything is woven. This edited collection demonstrates that imagination is the resin that binds human civilization together for better or worse.Trade Review'At the end of this wonderful journey through the theories of imagination and the various types of imaginaries, one is certainly fascinated by a polysemic view of the concept of imagination. Moser and Sukla have managed to find the best way to organise and channel a multitude of expert opinions towards a single goal: the revival of interest in the subject of imagination and its profound meaning in human life.' - Carlo Alessandro Caccia, in: enthymema (2021).Table of ContentsAcknowledgments List of Illustrations Notes on Contributors  Introduction Part 1: Historical Imagination and Judgement  1 Imagination and Art in Classical Greece and Rome   David Konstan  2 Poetic Imagination and Cultural Memory in Greek History and Mythology  Claude Calame  3 History, Imagination and the Narrative of Loss: Philosophical Questions about the Task of Historical Judgment   Allen Speight Part 2: Gendered Imagination  4 Imagining the Captive Amazon: Myth, Art, and History   Adrienne Mayor  5 Gender and Imagination: A Feminist Analysis of Shahrnush Parsipur’s Women Without Men<   Reshmi Mukherjee Part 3: Imagination and Ethics  6 Psychoanalysis, Imagination, and Imaginative Resistance: A Genesis of the Post-freudian World   Carol Steinberg Gould  7 Craving Sameness, Accepting Difference: Imaginative Possibilities for Solidarity and Social Justice   Chandra Kavanagh  8 The Importance of Imagination/Phantasia for the Moral Psychology of Virtue Ethics   David Collins  9 The Infanticidal Logic of Mimesis as Horizon of the Imaginable   A. Samuel Kimball  10 The Relationship Between Imagination and Christian Prayer   Michel Dion Part 4: Phenomenological and Epistemological Perspectives  11 The Work Texts Do: Toward a Phenomenology of Imagining Imaginatively   Charles Altieri  12 Conceiving and Imagining: Examples and Lessons   Jody Azzouni  13 The Dance of Perception: The Role of the Imagination in Simone Weil’s Early Epistemology   Warren Heiti  14 One Imagination or Many? or None?   Rob van Gerwen  15 Nietzsche on Theatricality and Imagination   Roderick Nicholls Part 5: Postmodern Perspectives  16 Simulacral Imagination and the Nexus of Power in a Post-marxist Universe   Keith Moser  17 Jean-François Lyotard, the Radical Imagination, and the Aesthetic of the Differend   Victor E. Taylor  18 The Possibility of a Productive Imagination in the Work of Deleuze and Guattari   Erik Bormanis Part 6:Imagination in Scientific Modeling and Biosemiotics  19 Of Predators and Prey: Imagination in Scientific Modeling   Fiora Salis  20 Geometry and the Imagination   Justin Humphreys  21 Art and Imagination: The Evolution of Meanings   Wendy Wheeler Part 7: Aesthetic Perspectives  22 Image, Image-making and Imagination   Dominic Gregory  23 Depiction, Imagination, and Photography   Jiri Benovksy  24 Imagination and Identification in Photography and Film   David Fenner  25 Imagination in Musical Composition, Performance, and Listening: John Cage’s Blurring of Boundaries in Music and Life in 4′33″   Deborah Fillerup Weagel  26 Kinesthetic Imagining and Dance Appreciation   Renee M. Conroy  27 Imagination in Games: Formulation, Re-actualization and Gaining a World   Ton Kruse  28 “‘I AM not mad, most noble Festus.’ No. But I have been”: Possible Worlds Theory and the Complex, Imaginative Worlds of Sarban’s The Sound of his Horn   Riyukta Raghunath Part 8: Non-western Perspectives  29 The Deep Frivolity of Life: An Indian Aesthetic Phenomenology of Fun   Arindam Chakrabarti  30 The Symbolic Force of Rocks in the Chinese Imagination   Yanping Gao  31 Magic from the Repressed: Imagination and Memories in Contemporary Japanese Literary Narratives   Amy Lee  32 The Metaphysics of Creativity: Imagination in Sufism, from the Qurʾan into Ibn al-ʿArabi’   Ali Hussain Part 9: Artists Reflect on Imagination: An Imaginative Epilogue  33 Free Thinking about Imagination: How is it to Imagine What Imagination is?   Marion Renauld  34 The Nativity of Images   Ton Kruse  35 Signal: Poetry and Imagination   Jesse Graves  36 The Echo of Voices   Umar Timol  37 Poem, Liberty   Louise Dupré  38 Why to Wish for the Witch   Lisa Fay Coutley  Index

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Book SynopsisAwarded an Honorable Mention for the 2022 Society of Professors of Education Outstanding Book Award Imagining Dewey features productive (re)interpretations of 21st century experience using the lens of John Dewey’s Art as Experience, through the doubled task of putting an array of international philosophers, educators, and artists-researchers in transactional dialogue and on equal footing in an academic text. This book is a pragmatic attempt to encourage application of aesthetic learning and living, ekphrasic interpretation, critical art, and agonist pluralism. There are two foci: (a) Deweyan philosophy and educational themes with (b) analysis and examples of how educators, artists, and researchers envision and enact artful meaning making. This structure meets the needs of university and high school audiences, who are accustomed to learning about challenging ideas through multimedia and aesthetic experience. Contributors are: James M. Albrecht, Adam I. Attwood, John Baldacchino, Carolyn L. Berenato, M. Cristina Di Gregori, Holly Fairbank, Jim Garrison, Amanda Gulla, Bethany Henning, Jessica Heybach, David L. Hildebrand, Ellyn Lyle, Livio Mattarollo, Christy McConnell Moroye, María-Isabel Moreno-Montoro, María Martínez Morales, Stephen M. Noonan, Louise G. Phillips, Scott L. Pratt, Joaquin Roldan, Leopoldo Rueda, Tadd Ruetenik, Leísa Sasso, Bruce Uhrmacher, David Vessey, Ricardo Marín Viadel, Sean Wiebe, Li Xu and Martha Patricia Espíritu Zavalza.Trade Review“The ancients posited ‘a quarrel between poetry and philosophy’: yet centuries later, work occasionally arises that throws into dazzling relief the interplay between fact and value, stasis and process, sedimented past and the spark of innovation. With one foot firmly planted in Dewey’s Art as Experience and the other mid-step into our present day, Imagining Dewey mines Deweyan/American pragmatist ideas on creativity, innovation, truth, and flourishing. It provides a refreshing dialogue between threads of fields too often artificially separated, as it connects resources in American, continental, and postmodern traditions with foundational insights and concerns of Plato and Aristotle. As internationally, cultures struggle today to integrate STEM fields with MESH fields (media literacy, ethics, sociology & history), Imagining Dewey provides a tapestry of theories, practices, hyperlinks, illustrations, and case examples highlighting practices of creative innovation that offer direction for both personal development and democratic, sociopolitical growth. Its energy of analysis is akin to mid-20th c. critical social theory critiques of increasingly dominative configurations of media, economics, and power: but in the spirit of early U.S. pragmatism, the essays focus “a pedagogy and politics of possibility” on 21st c. dynamics for new directions and solutions.” – L. Ryan Musgrave, PhD, Rollins College, Florida, USA “Imagining Dewey takes up the philosopher's 1934 text, Art as Experience, and demonstrates its pertinence and thought-provoking power for our day. Maarhuis and Rud have assembled a wide-ranging set of essays that illuminate our aesthetic experience of contemporary artistic and non-artistic works of very different kinds. Their imaginative rediscovery of Dewey's insights and interests in the present will be revitalizing for scholars of aesthetic education.” – René V. Arcilla, PhD, New York University, New York, USA “Enter this book and fall into Dewey’s promises. Imagining Dewey by Maarhuis and Rud pulls together philosophy, pedagogy, and making to create a dialogic canvas of polyglossia on the aesthetics of unfolding life-learning. This collection bids for a reader response that experiences the art of living fully alive, in the halo of the present flash and flow, awake to the quickening of unity and dissonance of the real, the complexity of beauty, the freedom of harmony, the openness of rhythm. Experience the art of imagining here, cultivate a recovery of the soul. Read this and feel yourself change in the experience. A must-read for all graduate programs.” – Pauline Sameshima, PhD, Lakehead University, Ontario, Canada “Dewey scholars, arts-based researchers and arts-integrated teachers, progressive educators, and all people who like to view and discuss art will benefit from this vigorous presentation of artworks created and recreated through the aesthetic experience of explorations of the connecting links among artists and their audiences. The text provides multiple inroads to curricular innovation. It is profoundly pluralistic and, therefore, a treatise on the connecting link between the arts and social justice.” – Susan Finley, PhD, Washington State University, Washington, USATable of ContentsForeword  Jim Garrison List of Figures Notes on Contributors Introduction  Patricia L. Maarhuis and A. G. Rud Part 1: Art Is/Is Not Experience 1. Art as Experience, Experience as Art  M. Cristina Di GreGori, Livio Mattarollo and Leopoldo Rueda 2. Travels through China in the Dewey and Barnes Letters: Arts, education, and politics  Carolyn L. Berenato 3. Art Is (Not) Experience: Engaging Dewey in Reverse  John Baldacchino Part 2: Performance & Happenings 4. The Aesthetics of Rehearsal  Scott L. Pratt 5. Building Experience: Fiction Account as Narrative Support and Product of Artistic Investigation  Martha Patricia Espíritu Zavalza 6. Collapsing Life and Art  David Vessey 7. The Artworks of Women: Weaving in a Semiotic and Pragmatic Performative Action  María-Isabel Moreno-Montoro Part 3: Encounters & Relationships 8. Dewey’s Art as Experience: A Guide in an Age of Personal Technology  David L. Hildebrand 9. Images of Injustice: The Problem of Visual Culture in Dewey’s Aesthetics  Jessica A. Heybach 10. Illumination: Teacher Education and the Aesthetic Encounter  Sean Wiebe and Ellyn Lyle Part 4: Dissonance & Reflection 11. Experiencing Art and Social Science: A Multimodal Poetic Perception of Social Ecological Cohesion  Adam I. Attwood 12. Aesthetic Experiences and Dewey’s Descendants: Poetic Inquiry as a Way of Knowing  Amanda N. Gulla 13. “Art Is More Moral than Moralities”: Deweyan Reflections on Literature in/as Education  James M. Albrecht 14. Father Catich and the Clean-Cut Christs: Re-presenting American Values Then and Now  Tadd Ruetenik Part 5: Time, Space, & Nature 15. Eco-Aesthetic Experiences: A Deweyan Framework for Ecological Aims in Schools  Christy McConnell Moroye and P. Bruce Uhrmacher 16. Temporality and Spatiality in Artwork: Dewey and Traditional Chinese Painting  Li Xu 17. Articulation from an Aesthetic Environment: Experience of research A/r/tographic  María Martínez Morales 18. Aesthetic Experiences of Making with Paper: The (Artist-Infused) Corner for Under Eight Year Olds  Louise G. Phillips Part 6: Transformation & The Work of Art 19. Sincerity in the Work of Art  Bethany N. Henning 20. Practicing the New School: Dewey, A/r/tography and the Intrusion of Poetics in Education  Leísa Sasso 21. Arts Based Educational Research and Social Transformation: A Project of Social A/r/tography  Ricardo Marín-Viadel and Joaquin Roldan 22. Imagination, Inquiry, and Voice: A Deweyan Approach to Education in a 21st Century Urban High School  Amanda N. Gulla, Holly Fairbank, and Stephen Noonan Index

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Book SynopsisThis book provides philosophical insight into the nature of reality by reflecting on its ontological qualities through the medium of film. The main question is whether we have access to reality through film that is not based on visual representation or narration: Is film—in spite of its immateriality—a way to directly grasp and reproduce reality? Why do we perceive film as “real” at all? What does it mean to define its own reproducibility as an ontological feature of reality? And what does film as a medium exactly show? The contributions in this book provide, from a cinematic perspective, diverse philosophical analyses to the understanding of the challenging concept of “the real of reality”.Table of ContentsAcknowledgements List of Illustrations Notes on Contributors Introduction   Christine Reeh-Peters, Stefan W. Schmidt and Peter Weibel PART 1 The Rise of the Real 1 The Real in Film The Historical Real, the Optical Real, and the Material Real   Hyun Kang Kim 2 The Being of Film   Christine Reeh-Peters 3 What It Means to Imagine Imagination  The Derrida–Searle Debate and the Poetic Ontology of Film   Philip Freytag 4 Emerging Imaginations  The Relation of Film and Reality from a Literary Perspective   Karin Janker 5 Animated Visions of Reality  The Real as Experimental Aesthetic in Anca Damian’s Animated Documentaries   Zsolt Gyenge 6 Pasolini’s Pan-semiology or Reality as Code   Peter Weibel PART 2 Experiencing the Real 7 The Cinematographic Experience  Thinking Cinema through the Philosophy of E. Husserl   Hanna Trindade 8 Reality Narrated through time  Andrei Tarkovsky’s The Mirror   Stefan W. Schmidt 9 Time and Film   Maria-Teresa Teixeira 10 Mapping Film-World Relations to Reality  A New Conceptual Cartography   Atėnė Mendelytė 11 The Crisis of the Time-Image Montage in Postmodern Times   Martin Stefanov 12 Think Future Cinema—with Photofilm as Its Basis   Gusztáv Hámos PART 3 The Real Unsettling 13 The Bird’s Eye View—Ornithology and Ontology in Hitchcock’s The Birds   Markus Gabriel 14 A Rough Sketch on the Real of Terrorism—Thoughts on Christopher Nolan’s Dark Knight Trilogy   Ringo Rösener 15 Justifying a Philosophical Claim  The Act of Killing and the Banality of Evil   Thomas E. Wartenberg 16 Jauja and Meek’s Cutoff  The Parallel American Ways of Rethinking Gilbert Simondon’s Role of Aesthetics in the Configuration of Humanity   Román Domínguez Jiménez 17 Maya Deren’s Claim for the “Ritualistic” Film or Fusing the Sacred and the Profane for the Sake of the Real   Patricia Feise-Mahnkopp

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Book SynopsisThe articles collected in "Into Life." Franz Rosenzweig on Knowledge, Aesthetics, and Politics focus on the significance of Franz Rosenzweig's work far beyond the realms of theology and philosophy of religion. They engage with a wide range of issues in philosophy and offer new insights, both by presenting an array of unpublished and underestimated sources and by bringing Rosenzweig's thought into dialogue with new approaches and interlocutors, such as Stanley Cavell, William Alston, Carl Schmitt, and Martin Heidegger. The result is a refreshing and original perspective on the work of one of the most significant thinkers of the twentieth century.Table of ContentsNotes on Contributors Introduction   Antonios Kalatzis and Enrico Lucca PART 1 Epistemologybr/> 1 Translating, Interpreting the Bible, Fighting Satan  Rosenzweig, Scholem, and the End of Their Correspondence (with Three Unpublished Letters from Scholem to Rosenzweig)   Enrico Lucca 2 From Jena to Jerusalem — Judaism as a Method   Gesine Palmer 3 Content, Form and Method in the Star of Redemption’s “New Theological Rationalism”   Roy Amir 4 The Ins and Outs of Rosenzweig’s Religious Epistemology from the Perspective of 21st Century Theological Reflection   Cass Fisher PART 2 Aesthetics 5 Episodic Genius  Autonomous Artistic Agency in the Star of Redemption   Antonios Kalatzis 6 “Art Must Become Pious or End”  Franz Rosenzweig’s Aesthetic Theory of Heteronomy   Christoph Kasten 7 To Affirm the World  Realist Ontology and Aesthetics in Franz Rosenzweig’s Star of Redemption and Stanley Cavell’s the World Viewed   Bruce Rosenstock part 3 Politics 8 Hermann Cohen and Franz Rosenzweig on Individuality and Moral Agency   Beate Ulrike La Sala 9 Franz Rosenzweig’s Writings on War Politics, History, and the Globalization of the World   Roberto Navarrete Alonso 10 From State to Star Contemporary Reflections on Franz Rosenzweig’s Journey from History to Identity   Eveline Goodman-Thau 11 Nomadism, Homelessness, and the Homecoming of the Poet Rosenzweig and Heidegger in Conversation   Elliot R. Wolfson Index of Names

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Book SynopsisMystik und Romantik sind Gegenmodelle einer stets fremder werdenden Moderne. Die Romantik als eine Kulturepoche nimmt das überzeitliche religiöse Phänomen der Mystik in sich auf. Der vorliegende Band geht auf zahlreiche Beispiele ein, insbesondere auf die Rezeption Jacob Böhmes in der Romantik. Mysticism and Romanticism are counter-models of an ever stranger modernity. Romanticism as a cultural epoch absorbs the supra-temporal religious phenomenon of mysticism. This volume deals with numerous examples, specifically the reception of Jacob Böhme in Romanticism.Table of ContentsVorwort Abkürzungsverzeichnis Einleitung Teil 1 Mystik und Romantik 1 Wackenroder und die Mystik  Günther Bonheim 2 Friedrich Schlegels Beschäftigung mit der Mystik  Bärbel Frischmann 3 Friedrich Schlegels Mystik-Rezeption im Kontext seiner Idealismus-Kritik  Dorit Messlin 4 Friedrich Schlegel and the Mystical Kingdom of God  Asko Nivala 5 „ wie ein Kind, das heim will“: Clemens Brentano zwischen Erotik und Mystik  Peter Nickl 6 Von den Mythen Asiens zur christlichen Mystik: Der Weg des Joseph Görres  Monika Fink-Lang 7 Unheimliches: Satire und Mystik bei Joseph Görres  Thomas Isermann 8 “Never will I Forget Seeing Him” (Nie werde ich seinen Anblick vergessen): The Influence of Philipp Matthaeus Hahn on Schelling’s Philosophy  Andrés Quero-Sánchez 9 Mystik bei Franz von Baader (1765–1841)  Alberto Bonchino Teil 2 Jacob Böhme und die Romantik 10 Zur Typologie vorromantischer Böhme-Rezeption  Sibylle Rusterholz 11 Zitat und Inspiration: Böhme bei Tieck und Runge  Thomas Isermann 12 Die Aurora, die Europa: Novalis’ Böhme-Lektüre und seine religionsgeschichtliche Konstruktion  Günther Bonheim 13 Jacob Böhmes Aurora in der Morgenröte der Romantik  Steffen Dietzsch 14 „Ultra crepidam!“: Ein Schuster im Athenäum und frühromantische Nachtwachen in Erwartung der Morgenröte  Thomas Regehly 15 Über diejenigen, die eine Kerze ins Sonnenlicht halten: Böhmes Einfluss auf Blakes frühromantisches Werk The Marriage of Heaven and Hell (1790)  Tobias Schlosser 16 Qualitative Dialektik: Hegels Differenzschrift und Jacob Böhme  Donata Schoeller 17 Hilflose Abstraktheit: Die Böhme-Rezeption Franz von Baaders und dessen Kritik an Schellings Idealismus  Andrés Quero-Sánchez Literatur Register

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Book SynopsisThe open access publication of this book has been published with the support of the Swiss National Science Foundation. In this book, Ota Gál presents a new analysis of Plotinus' conception of beauty, beginning from a close reading of treatises I.6 and V.8, which link beauty with the unified multiplicity of Intellect. This account is subsequently placed in a hierarchical and structural context in VI.2 and VI.6 and connected to illumination in VI.7, enabling us to determine the meaning of the predicate “beauty” at different ontological levels. For Plotinus, beauty is ultimately the illuminated unity in multiplicity of Intellect, which, as the manifestation of the Good, simultaneously enables the soul’s ascent and threatens to bind the soul to itself.Trade Review"...this is a very good book, well worth the time not only of one interested in Plotinus and in the topic of beauty, but also in the view held universally by all Platonists that beauty is not separable from morality or from metaphysics." - Lloyd P. Gerson, BMCR 2023.01.35Table of ContentsAcknowledgements Abbreviations 1 Introduction  1.1 Beauty in Plotinus: Where and How to Start?  1.2 Treatise V.8: Plotinus the Defender, or the Top-Down Perspective  1.3 Treatise I.6: An Introduction to Plotinus, or the Bottom-Up Perspective  1.4 On the Kinds of Being: Plotinus the Exegete  1.5 On Number: Plotinus the Explorer  1.6 Treatise VI.7: The Many Faces of Plotinus and Beauty 2 Beauty as a Stepping-Stone (Treatise I.6)  2.1 The Phenomenal Field of Beauty  2.2 The Context of the Question: The Symposium and Beauty as Symmetry  2.3 The Cause of Beauty and Ugliness in Bodies  2.4 The Impact of Beauty on Soul  2.5 The Cause of Beauty and Ugliness in Soul  2.6 The Hierarchy of Beauty and What Is at the Top 3 Intelligible Beauty (Treatise V.8)  3.1 Productive Contemplation  3.2 The Defence of τέχνη and Sensible Beauty  3.3 The Beauty of Soul: The Cosmic Dimension  3.4 The Correct Understanding of Intellect and Its Beauty  3.5 The Οὐρανός—Κρόνος—Ζεύς Myth: Consequences for Beauty and the Good 4 Unity, Multiplicity and the Highest Kinds (Treatise VI.2)  4.1 The Focus of VI.1–3 and the Quest for the Highest Kinds (VI.2.1–3)  4.2 Establishing the Five Highest Kinds (VI.2.4–8)  4.3 Is the One To Be Counted among the Highest Kinds? (VI.2.9–11)  4.4 Tentative Summary: The Unity and Multiplicity of Intellect in VI.2  4.5 Is Beauty To Be Counted among the Highest Kinds? (VI.2.17–18) 5 Unity, Multiplicity and the Numbers (Treatise VI.6)  5.1 The Context of the Quest for the Notion of Number (V.5.4–5 and VI.6.1)  5.2 Defined Multiplicity, Form of Beauty and the Indefinite Dyad (VI.6.1–3)  5.3 Number in the Intelligible (VI.6.4–8)  5.4 The Role of Number in the Generation of Beings (VI.6.9–10)  5.5 Number and Beauty (VI.6.18) 6 Beauty as the Manifestation of the Good (Treatise VI.7)  6.1 The Ascent to Intellect as Life (VI.7.1–12)  6.2 The Context of the Question of the Presence of the Good in Intellect (VI.7.13–14)  6.3 The Presence of the Good in Intellect: The Top-Down Answer (VI.7.15–17)  6.4 The Presence of the Good in Intellect: The Bottom-Up Answer (VI.7.18–23)  6.5 Alternative Notions of the Good and the True Meaning of Plato’s Doctrine (VI.7.24–30)  6.6 The Good from the Perspective of Beauty and Love (VI.7.31–36)  6.7 The Good and Intellection (VI.7.37–42) 7 Beauty as Illuminated Unity in Multiplicity  7.1 Beauty on the Level of Sensibles  7.2 Beauty on the Level of Soul  7.3 Beauty on the Level of Intellect  7.4 Beauty and the Good  7.5 Beauty as Such Bibliography Index

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Book SynopsisThe book situates itself in the fields of philosophy, political theory, aesthetics and theories of art, linking its discussions of fictional dystopias to debates on ongoing crises. It asks: Are dystopias a useful tool for imagining ways out of sombre situations or do they prevent us from engaging in transformative action? The book consists of a thorough introduction and three major sections: 1. Dystopias of Meaninglessness, 2. Techno-Euphoria vs. Terror of Technology, and 3. Dystopias Come True? The individual chapters discuss, among other things, liberalism and conservatism, “luxury communism”, pandemics, technology-induced anxiety, empty speech, ethics, film, literature, architecture and music.Table of ContentsAcknowledgements List of Figures Notes on Contributors Introduction: Dystopias and Beyond  Martta Heikkilä, Irina Poleschuk and Erika Ruonakoski PART 1: Dystopias of Meaninglessness 1 Waiting for Catastrophe in the Dark: Public Obscurity and Viktor Pelevin’s Homo Zapiens  Ari-Elmeri Hyvönen 2 Work and Play: the Dystopic Environments in Terry Gilliam’s Brazil  Martta Heikkilä 3 A Brave New World in the Making: Fully Automated Luxury Communism as a Political Dystopia  Joonas Martikainen PART 2: Techno-Euphoria vs. Terror of Technology 4 Thematising Technological Dystopias and Anxiety through Hans Blumenberg  Michał Wieczorek 5 The Limits of Control: Industrial Dystopias and Techno Utopias in Mika Vainio’s Music  Janne Vanhanen 6 Can the Future Be Cancelled? On the Technological Dystopia in Melanie Gilligan’s The Common Sense  Saara Hacklin PART 3: Dystopias Come True? 7 The Liberal Dystopia: Joseph de Maistre’s Grim Visions on the Enlightenment and Democracy  Marianne Sandelin 8 Ethical Temporality, Justice, and Dystopia of Being-for-the-Other: Between Ethics and Politics  Irina Poleshchuk 9 Experiential Shifts in the covid-19 Pandemic: from the Epochē to Interspace and “Normality”  Erika Ruonakoski Index

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Book SynopsisCities are defined by their complex network of busy streets and the multitudes of people that animate them through physical presence and bodily actions that often differ dramatically: elegant window-shoppers and homeless beggars, protesting crowds and patrolling police. As bodies shape city life, so the city’s spaces, structures, economies, politics, rhythms, and atmospheres reciprocally shape the urban soma. This collection of original essays explores the somaesthetic qualities and challenges of city life (in Europe, Asia, Africa, and the Americas) from a variety of perspectives ranging from philosophy, urban theory, political theory, and gender studies to visual art, criminology, and the interdisciplinary field of somaesthetics. Together these essays illustrate the aesthetic, cultural, and political roles and trials of bodies in the city streets.Trade Review"Shusterman and his colleagues launched a significant volume of essays about a new dimension of somaesthetics: bodies in the street. It shows somaesthetics' usefulness and ability to interpret every dimension of human life." - Alexander Kremer, University of Szeged, in: Pragmatism Today Vol. 11 (1/2020) "[D]oes somaesthetics provide a basis for critical assessment? Shusterman makes a strong case for the importance of the body and its role in all aspects of human experience. [...] The audience for this book may include aestheticians, but it offers potentially a much broader scope of interest, including the place of the body in urban studies, feminist theory, revolutionary politics, as well as literature and art." - Curtis L. Carter, Marquette University, in: The Journal of Aesthetics and Art Criticism Vol. 78 (issue 2/2020) "Si tratta, pertanto, di un volume importante e decisivo nello sviluppo della somaestetica proposta da Shusterman, una tappa che prelude a passi ulteriori ma che già fin da adesso rimodula ulteriormente e in modo efficace il cammino della somaestetica." - Leonardo Distaso, University of Naples, in: Aisthema, International Journal Vol. VI (2019) “[A] significant contribution in imposing somaesthetics as one of the most open and pluralist fields in contemporary philosophy.” - Stefano Marino, University of Bologna, in: The Journal of Somaesthetics 6:2 (2020).Table of ContentsList of Illustrations Notes on Contributors Introduction: Bodies in the Streets and the Somaesthetics of City Life  Richard Shusterman Part I: The Soma, the City, and the Weather 1. Bodies in the Streets: The Soma, the City, and the Art of Living  Richard Shusterman 2. The Weather-Worlds of Urban Bodies  Mădălina Diaconu 3. White on Black: Snow in the City, Skiing in Copenhagen  Henrik Reeh Part II: Festival, Revolution, and Death 4. Body Politics: Revolt and City Celebration  Matthew Crippen 5. Bodies in the Streets of Eastern Europe: Rhetorical Space and the Somaesthetics of Revolution  Noemi Marin 6. From Dancing to Dying in the Streets: Somaesthetics of the Cuban Revolution in Memories of Underdevelopment and Juan of the Dead  Marilyn Miller Part III: Performances of Resistance, Gender, and Crime 7. “Street” is Feminine in Italian: Feminine Bodies and Street Spaces  Ilaria Serra 8. Bodies in Alliance and New Sites of Resistance: Performing the Political in Neoliberal Public Space  Federica Castelli 9. East End Prostitution and the Fear of Contagion: On Bodily Consciousness of the Ripper Case  Chung-jen Chen 10. Towards a Somaesthetic Conception of Culture in Iran: Somaesthetic Performances as Cultural Praxis in Tehran  Alireza Fakhrkonandeh Part IV: Bodies in the Streets of Literature and Art 11. “Terrae Incognitae”: The Somaesthetics of Thomas De Quincey’s Psychogeography  Evy Varsamopoulou 12. The Empty Spaces You Run Into: The City as Character and Background in William S. Burroughs’s Junky, Queer, and Naked Lunch  Robert Jones 13. Somaesthetics and the Sublime: Varanasi in Modern and Contemporary Indian Art  Pradeep Dhillon Name Index Subject Index

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Book SynopsisWhen does eating become art? The Aesthetics of Taste answers this question by exploring the position of taste in contemporary culture and the manner in which taste meanders its way into the realm of art. The argument identifies aesthetic values not only in artistic practices, where they are naturally expected, but also in the spaces of everydayness that seem far removed from the domain of fine arts. As such, it seeks to grasp what artists – who offer aesthetic as well as culinary experiences – actually try to communicate, while also pondering whether a cook can be an artist.Table of ContentsList of Figures Introduction 1 The Antinomies of Taste  1 The Judgments of Taste: David Hume  2 Beauty: between the Subjective and the Universally Accepted  3 Eat/Know: Kant and Brillat-Savarin  4 Aesthetic Taste and Physiological Taste  5 The Nature of Physiological Taste  6 Eating as a Social Activity  7 Appetite, Reason, and Health  8 Sociability 2 Taste and Its Value: Cultural Hierarchies  1 Foods and Cooking Techniques  2 Popular and Erudite Cuisines  3 The Senses  4 The Senses and Gender  5 Towards Integration  6 Art and Life 3 Culinary Experience: a Pragmatist Perspective  1 Teaching by Cooking  2 The Rhythms of Life and Art  3 The Experience of Art  4 Educating Taste  5 An Experience  6 A Culinary Experience  7 Characteristics of Experience  8 Food as Art 4 Somaesthetics and the Art of Eating  1 Ambitions and Temptations  2 Somaesthetics as an Art of Living  3 The Art of Eating  4 Body Memory 5 The Kitchen: a World Next Door  1 The Female Cook  2 Martha Rosler: the Kitchen as the Prison of the Soul  3 Elżbieta Jabłońska: the Impossible Kitchen  4 Mierle Laderman Ukeles: the Art of Everyday Maintenance  5 Marina Abramović: the Holy Cook  6 The Women’s Place  7 The Laboratory  8 From Oppression to Terror: the Gastronomical Mother  9 Coda 6 Community around the Table  1 Conversations at the Table  2 Taste and Difference  3 Community in the Making  4 Impossible Community  5 Designing Community  6 Bridging the Gaps 7 The Taste of Authenticity  1 Out of the Comfort Zone  2 Food Tourism  3 Authenticity as a Commodity  4 Immersion  5 Returning Home  6 Appropriation  7 Avoiding Authenticity 8 Leftovers  1 Débris of the Meal  2 Tensions  3 Zoe en Stasei  4 Commentary on Life  5 The Restaurant  6 Consummation 9 Conclusion  1 The Diffusion of Beauty  2 The New Sensorium Bibliography Index

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Book SynopsisDesign permeates every dimension of our lifeworld, from the products we consume and the built environments in which we live to the adorned and stylized beings that we are and the natural preserves where we seek relief from the stressful bustle of urban life. Design is where contrasting values of functionality and aesthetic pleasure converge. At the core of design is the human soma, an active, perceptive subjectivity that creates and evaluates design but is also its cultivated product. This collection of ten essays explores the somaesthetics of design in multiple fields: from ritual, craft, and healthcare to architecture, urbanism, and the new media of extended realities.Table of ContentsAcknowledgments List of Figures Notes on Contributors Introduction: Somaesthetics and Design Culture   Richard Shusterman and Bálint Veres Part 1 Studies on Limitations 1 A World Is Born: Craftsmanship, Mediality, and the Somatic Implications of Plato’s Timaeus   Bálint Veres 2 From Making to Lighting a Candle: On Functions, Meanings, and Bodies in Ritual Design   Mădălina Diaconu 3 Can That Be Taught? Lessons in Embodied Knowledge from Memoir Writing for Craft and Design Education   Jessica Hemmings 4 Soma and Symbol: The Bridging Function of Style in Design History and Culture   Steven Leuthold Part 2 Bodies, Senses, and Power 5 Sensing Kalasatama: Design Culture and Neoliberal Bodyhood   Guy Julier 6 Bodies Under the Weather: Selective Permeability, Political Affordances, and Architectural Hostility   Matthew Crippen with Illustrations by Mareike Joleen Timm 7 Across the Threshold: A Somaesthetic Approach to the Design of Extended Realities   Tom McGuirk and Alan Summers Part 3 Transformative Experiences 8 Bespoke Healthcare Design   Dina Shahar and Jonathan Ventura 9 Sensory Activation in Design, Art, and Architecture – a Somaesthetic Perspective   Else Marie Bukdahl 10 Designing for Somaesthetic Transformation   Richard Shusterman and Dag Svanæs Index

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Book SynopsisMahayana, Theravada, ancient, modern? Even at the most basic level, the diversity of Buddhism makes a comprehensive approach daunting. This book is a first step in solving the problem. In foregrounding the bodies of practitioners, a solid platform for analysing the philosophy of Buddhism begins to become apparent. Building upon somaesthetics Buddhism is seen for its ameliorative effect, which spans the range of how the mind integrates with the body. This exploration of positive effect spans from dreams to medicine. Beyond the historical side of these questions, a contemporary analysis includes its intersection with art, philosophy, and ethnography.

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Book SynopsisIn the early 19th century, a new social collective emerged out of impoverished artisans, urban rabble, wandering rural lower classes, bankrupt aristocrats and precarious intellectuals, one that would soon be called the proletariat. But this did not yet exist as a unified, homogeneous class with affiliated political parties. The motley appearance, the dreams and longings of these figures, torn from all economic certainties, found new forms of narration in romantic novellas, reportages, social-statistical studies, and monthly bulletins. But soon enough, these disorderly, violent, nostalgic, errant, and utopian figures were denigrated as reactionary and anarchic by the heads of the labour movement, since they did not fit into their grand linear vision of progress. In this book, Patrick Eiden-Offe tells their story, tracing the making of the proletariat in Vörmarz Germany (1815–1848) through the writings of figures like Ludwig Tieck, Moses Hess, Wilhelm Weitling, Georg Weerth, Friedrich Engels, Louise Otto-Peters, Ernst Willkomm, and Georg Büchner, and in so doing, revealing a striking similarity to the disorderly classes of today.Table of ContentsTranslator’s Note Introduction  1 Class and Classification, Proletariat and Proletarianisation  2 The Proletariat: a Non-identical Subject  3 Romantic Anti-capitalism  4 Historiography of Rescue  5 Proletarian Identity: Openness and (Self-)Enclosure  6 Inverse Relevance of the Vormärz  7 Literary History as Social History: Class as Figure 1 Small Masters and Journeymen: from Guild to Movement  1 Romantic Anti-capitalism: Ludwig Tieck’s The Young Master Carpenter  2 Journeymen Culture and the Workers’ Movement: Wilhelm Weitling  3 Georg Weerth and the Break with Guild Traditions 2 ‘We? Tricky Question!’ on the Search for Class Identity in Proletarian Journals  1 Negations: ‘Bourgeois’ and ‘Intellectual Prolatarians’  2 Ascension: ‘We’ Want to Be Bürger  3 Activation: What ‘We’ Should Be  4 Affirmation: ‘We’ Who Raise Our Voices 3 Counting the People: Class Statistics  1 Statistics and Social Agitation: The Hessian Messenger  2 Statistics in the Service of Revolution: Gesellschaftsspiegel 4 Miserabilism and Critique: from the Poverty of Literature to the Poverty of Theory  1 Ludwig Tieck and the Wolves of London  2 German Misery, German Verse: Engels as Narrative Theorist  3 Striking Stereotypes: Ernst Dronke’s ‘Rich and Poor’  4 The Family Romance of the Proletarian  5 Relentlessness  6 Mystères – Misère  7 Misery in Relations: Production, World Market, Needs  8 Poverty and Quality of Life: Disposable Time 5 Wage Labour and Slavery: Unfulfilled Promises of Freedom  1 Allegories of Class: ‘Steam King’ and ‘White Slaves’  2 Point of Comparison: Weitling’s ‘Politics of Slavery’  3 The ‘Semblance of Liberty’ and Real Slavery: Engels  4 Class Slavery  5 Why ‘White Slaves’?  6 Theory as Mystification: the Cult of the Industrial Worker and Global Critique  7 The Universality of Proletarianisation 6 Representing the ‘Labouring Poor’  1 The Possibilities of Literature: Ernst Willkomm’s White Slaves or the Sufferings of the People  2 Engels and the Invention of Social Reportage  3 The Reporter in the Field: ‘The Great Towns’ 7 Class in Struggle  1 Witches’ Sabbath as Early Modern Class Struggle: Tieck  2 The Witches’ Sabbath of the Class Struggles in France: Börne  3 Social War on Lake Zurich: Weitling  4 Primitive Rebels in Lower Lusatia: Willkomm  5 Rescuing the Rebels  6 Revenge and Class  7 The Machine Breakers  8 Is It O.K. to Be a Luddite?  9 Towards a Pure Strike: Georg Weerth’s Fragment of a Novel  10 The Struggle for the Family Wage, the Feminisation of Factory Work and the Masculinisation of the Workers’ Movement Conclusion: the Return of Romantic Anti-capitalism Epilogue: Romantic ‘Anti-capitalism’ from Above Bibliography Index

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Book SynopsisThe title of this book, The European Avant-Garde – A Hundred Years Later, implies the European avant-garde took place a century ago, that it is a thing of the past. However, it does not aim to consolidate this position, but to question it. It addresses temporality as the central dimension related to the notion of the avant-garde. The book brings forth original revisions of the theories of the avant-garde, the works of the avant-garde, the idea of the avant-garde as being the vanguard, the leading force of change. It addresses the returning of the avant-garde during the twentieth century and today.Table of ContentsList of Figures and Tables Notes on Contributors Introduction: the Turning and Returning of the Avant-Garde  Polona Tratnik PART 1: The Avant-Garde Is Back 1 Revolution Reconsidered: the Three Avant-Garde Traditions  Sascha Bru 2 Anaphorizing Histories: on the Entanglements of Paleo-, Neo-, and Tardo-Avant-Gardes  Tyrus Miller 3 A Quest for Avant-Garde: Doing Avant-Garde, Inheriting Avant-Garde  Polona Tratnik PART 2: Avant-Garde and Geo-Politics 4 European Avant-Gardes between International and Global  Miško Šuvakovic 5 Trieste–Ljubljana–Zagreb–Belgrade–Cernigoj–Delak–Micic. Trieste, Ljubljana, Zagreb, Belgrade  Cernigoj, Delak, Micic. Linking Slovene, Italian and Serbian Avant-Garde  Tomaž Toporišic PART 3: The Neglected Avant-Garde Genres and Media 6 Avant-Garde Manifesto  Lev Kreft 7 An Exercise in Categorization: Avant-Garde Cinema of the 1920s  Ernest Ženko PART 4: Expressionism Reconsidered 8 Expressionism and Weimar Cinema  Darko Štrajn 9 Franz Marc’s Avant-Garde Animal Painting  Valentina Hribar Sorcan PART 5: Post-Gravity Art 10 The Avant-Garde Politics of Time: the Case of Post-Gravity Art  Mojca Puncer 11 Bodies-In-Freedom: from Futurist Aerial Theatre to Space Art  Maja Murnik Index

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Book SynopsisThe inclusion of this volume in Brill's Transcultural Aesthetics, a book series devoted primarily to multidisciplinary Western and non-Western aesthetics, is indispensable to enrich the nature and scope of contemporary aesthetics. Time and again, many aesthetic controversies have not been adequately addressed, and this has become a common concern among scholars in contemporary aesthetics. This volume therefore seeks to contribute new perspectives to these controversies by shedding light on some of the fresh views among the leading theorists working in the field today.Table of ContentsList of Figures and Tables About the Authors Introduction: Controversy and Construction in Contemporary Aesthetics: an Introduction  Jie Wang, Zheng Shen and Armida de la Garza PART 1: Classical Theories and New Phenomena: Technological Advancements 1 Aesthetics and the Arts of Engagement  Arnold Berleant 2 Adorno, Stiegler, and Industrial Schemata of Experience  Tyrus Miller 3 Social Value and Aesthetic Judgement – Television in the UK  David Margolies 4 Industrial Development of New Media Arts in China  Qingben Li PART 2: Classical Theories and New Phenomena: Aesthetic Capitalism 5 Baudrillard, Hyperreality, and Emergency Capitalism  Fabio Vighi 6 The ‘Cultivated Imagination as a Condition Precedent for Revolutionary Class-Struggle’  Michael Sanders 7 Contemporary Aesthetics Issues: New Horizons for Researches of Economic Aesthetics in Economic Sociology  Alexander Petrov PART 3: Transcultural Aesthetics 8 Fiction and the Imagination  Derek Matravers 9 Cultural Industries and the Cultural Front – Historical and Contemporary Reflections  Justin O’Connor 10 Aesthetics of Atmosphere and Intercultural Studies  Zhuofei Wang 11 Practice, Reflection and Inspiration of Art Involvement in Community Revitalization in Japan  Yongjian Wang PART 4: The Rise of Chinese Aesthetics 12 Identity and Hybridity – Chinese Culture and Aesthetics in the Age of Globalization  Karl-Heinz Pohl 13 The Kowtow and the Eyeball Test  Mario Wenning 14 Intermediality in Qing Ming Shang He Tu: from Visual Image to Music  Germán Gil-Curiel 15 New Research Directions of Marxist Aesthetics: a Case of Contemporary China  Zheng Shen 16 Aesthetic Modernity: a Preliminary Exploration of the Ethnography of Emotions in Contemporary China  Jie Wang and Tian Shi PART 5: Multidisciplinary Aesthetics: Converging of Fields 17 What Does It Mean to be Human? A Critique of Design Thinking  Harold P. Sjursen 18 Aesthetic Anthropology: Constructing a New System of Contemporary Aesthetic and Art Criticism  Jie Wang and Fanjun Meng 19 ‘Crafting’ an Aesthetics of Science: Textile Artwork and Science Communication  Armida de la Garza and Zheng Shen 20 Contemporary Aesthetics from the Perspective of Cognitive Neuroscience—Centered on ‘Aesthetic Cognitive Mode’  Yushui Liang References Index

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Book SynopsisAre artistic engagements evolving, or attracting more attention? The range of artistic protest actions shows how the globalisation of art is also the globalisation of art politics. Here, based on multi-site field research, we follow artists from the MENA countries, Latin America, and Africa along their committed transnational trajectories, whether these are voluntary or the result of exile. With this global and decentred approach, the different repertoires of engagement appear, in all their dimensions, including professional ones. In the face of political disillusionment, these aesthetic interventions take on new meanings, as artivists seek alternative modes of social transformation and production of shared values. Contributors are: Alice Aterianus-Owanga, Sébastien Boulay, Sarah Dornhof, Simon Dubois, Shyam Iskander, Sabrina Melenotte, Franck Mermier, Rayane Al Rammal, Kirsten Scheid, Pinar Selek, and Marion Slitine. The Global Politics of Artistic Engagement: Beyond the Arab Uprisings is now available in paperback for individual customers.Table of ContentsList of Illustrations Notes on Contributors Introduction: Repertoires of Engagement in Motion  Pénélope Larzillière Part 1: Moving Repertoires of Engagement 1 Creating a Syrian Culture in Exile: The Reconfigurations of Engagement  Franck Mermier 2 The “Metamorphoses of the Political” in the Contemporary Art of Palestinian Post-Oslo Generation  Marion Slitine 3 Transnationalizing the Repertoires of Action: A Comparative View of African Rappers’ Engagements in Motion  Alice Aterianus-Owanga 4 Digital Artivism in Movement: The 2019 Lebanese Uprising’s Art on Instagram  Rayane al-Rammal Part 2: Artistic Visibilities and Political Circulations, in Diaspora 5 Presence and International Journeys of Engaged West Saharan Singers  Sébastien Boulay 6 Young Documentary Theatre on Syrian Stages: An Aesthetic of Circulation, Exile, and Engagement  Simon Dubois 7 Anatolian Musicians in Europe: Creation, Political Engagement, Transformation  Pinar Selek Part 3: Contest and Critique, in a Globalizing World 8 Palestinian Art Talk: A Local Lexicon for Global Art Production  Kirsten Scheid 9 Fictions of the Contemporary: The Shifting Spaces of the Marrakech Biennale  Sarah Dornhof 10 Focus on the Bahraini Art Scene: Centralization Processes and Social Engagement  Shyam Iskander 11 Embodying Absence: Remembering Mexico’s Missing Persons through Art  Sabrina Melenotte Index

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Book Synopsis

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Book SynopsisThe result of interdisciplinary collaboration rarely undertaken in such a systematic manner. Confrontations brings together literary critics, historians, and art historians to reflect on a cluster of themes inspired by the commemoration of the centenary of the Dreyfus Affair. From literary expressions of revolt in all its excess — and nuance — to the complexities of political confrontations illuminated by analyses of “J’Accuse...!”, this book explores the tensions and dissent kindled throughout the century by rhetorical, artistic, and political audaciousness. These essays invite the reconsideration of diverse forms of opposition, repression, and resistance, from the most blatant to the most subtle, as expressed through a variety of objects: word, act, and image become political gestures, just as politics is inspired by artistic and literary creation. After examining diverse forms of textual negotiation, the book explores acts of defiance and concludes with a discussion of a range of polemics, including but not limited to the Dreyfus Affair. This volume represents a reference source rich in new perspectives on the emblematic controversies of the nineteenth century —, literary, artistic, social, and political.Table of ContentsEditors’ Introduction I. Negotiating Texts T.J. FARRANT: “Balzac, Satire, and Subversion: The Private Life of the Avant-propos to La Comédie humaine” Anne FRÉMIOT: “Crime et contamination dans ´Le Dessous de cartes d’une partie de whist’ de Barbey d’Aurevilly” Philippe MET : “Fantastique, mystification et traduction dans La Guzla de Mérimée ” Armine KOTIN MORTIMER : “ Secrets of Literature, Resistance to Meaning ” Aline MURA-BRUNEL: “Le scandale du non-dit: Balzac et Stendhal” Timothy RASER : “ The Glory of the Critic : Proust’s Preface to La Bible d’Amiens Michael J. TILBY: “Opposition and its Literary Expression in the Late Restoration: A ‘Self-Conscious Model’ ” II. Violence, Defiance, Audaces Owen HEATHCOTE : “Verbal Hygiene for Oscar : The Expression and Containment of Violence in Balzac’s Un début dans la vie” Garett R. HEYSEL : “ Audacious Modes and Spectacular Models : Fashion in Jean Lorrain ” David A. POWELL : “ ‘La Pénultième,’ or the Next-to-Last What ? A Musical Approach to Mallarmé’s ‘Démon’ ” Debarati SANYAL: “The Object of Poetry: Commodity and Critique in Baudelaire” Juliet A. SIMPSON: “Defiant Acts: The Théâtre d’Art, Décor, and the Radical Symbolist ‘Total Work’ ” Gayle ZACHMANN: “Offensive Moves in Mallarmé: Dancing with des asters ” III. Politics and Polemics Eric CAHM: “Moderate Anti-Dreyfusism: The Forgotten Ideology of France’s Republican Elite in 1898” Vincent DUCLERT: “Le procès Zola en 1898: L’accomplissement de ‘J’Accuse¼!’ ” Lucienne FRAPPIER-MAZUR : “ Le Discours épique et révolutionnaire dans I.N.R.I. de Léon Cladel ” Susan HINER : “ Paris Pastoral : Re-Figuring Anarchy in Zola’s Fin de Siècle ” Leonard R. KOOS : “ Making Angels : Abortion Literature in Turn-of-the-Century France ” Jean-Yves MOLLIER: “La propagande dreyfusarde et antidreyfusarde en France de 1894 à 1900” Michelle PERROT : “ La Fronde des femmes au temps de l’Affaire Dreyfus ” Marvin N. RICHARDS : “ 1898 : Poetry on Strike, Prose in the Papers ”

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