Philosophy: aesthetics Books

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Book SynopsisListening through the Noise considers how the experience of listening to electronic music constitutes a departure from the expectations that have long governed music listening in the West.Trade Reviewa thought-provoking and significant contribution to our understanding of the aesthetics of electronic music. * Peter Manning, Music and Letters *Table of ContentsAcknowledgements Introduction Part One: Sign Chapter One: Listening to Signs in Post-Schaefferian Electroacoustic music Chapter Two: Material As Sign In Electronica Part Two: Object Chapter Three: Minimal Objects In Microsound Chapter Four: Maximal Objects in Drone Music, Dub Techno, and Noise Part Three: Situation Chapter Five: Site in Ambient, Soundscape, and Field Recordings Chapter Six: Genre, Experimentalism, and the Musical Frame Conclusion Notes Glossary Bibliography Discography

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Book SynopsisThese essays, by film scholars and philosophers, address the nature of cinematic representation, notions of authorship and intentionality in our understanding and appreciation of films, ideology, aesthetics and the nature and place of emotion in film spectatorship.Trade ReviewThe contributions are all of a high standard. Problems are clearly defined, concepts clarified, fine distinctions drawn, objections considered, and supporting evidence purveyed. In their documentation, scrupulous attention to opposing arguments, integrity, and clarity of reasoning, the contributions are models of professional academic philosophy ... The many virtues of the analytical tradition are manifest in chapter after chapter ... This anthology merits close perusal by anyone interested in genuine film theory. * Trevor Whittock, Brit Jrnl of Aesthetics, Vol 39, no 3, 1999 *Admirably edited by Allen and Smith, who contribute an excellent introductory chapter summing up the argument against the continentals ... * W. A. Vincent, Michigan State University, CHOICE sept 98, vol 36, no 2 *Table of ContentsPART 1 WHAT IS CINEMATIC REPRESENTATION ; PART 2 MEANING, AUTHORSHIP, AND INTENTION ; PART 3 IDEOLOGY AND ETHICS ; PART 4 AESTHETICS ; PART 5 EMOTIONAL RESPONSE

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Book SynopsisA revised and enlarged version of Bryan Magee's study of Schopenhauer. It contains a brief biography of Schopenhauer, a systematic exposition of his thought, and a critical discussion of the problems to which it gives rise and of its influence on a wide range of thinkers and artists.Trade ReviewFrom the reviews of the first edition:"This is a book of many virtues and few vices ... The book reads well. It deserves to be well read ... surpass[es] all current English-language treatments of Schopenhauer" Schopenhauer-Jahrbuchambitious ... highly readable ... Magee moves with confidence and ability among the connecting structures of philosophy, the history of ideas, the arts, and human psychology. * Philosophical Quarterly *Maggee's study should, however, not merely be reviewed but also read; for it is thorough, lucid and wide-ranging ... a substantial work." Times Higher Education SupplementBryan Magee's book is ... to be welcomed as the most illuminating and admirable study of Schopenhauer's philosophy yet to appear in English * Wagner *He sets about the task of explaining Schopenhauer's ideas with a commitment and enthusiasm all too rare in philosophical writing, and succeeds admirably in communicating his excitement to the reader. * Philosophy and Psychology *This is a wide-ranging book and Mr Magee's enthusiasm makes it stimulating. * The Economist *Table of ContentsPART I: ; PART II:

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Book SynopsisIn his Aesthetics Hegel gives full expression to his seminal theory of art. He surveys the history of art from ancient India, Egypt, and Greece through to the Romantic movement of his own time, criticizes major works, and probes their meaning and significance; his rich array of examples gives broad scope for his judgement and makes vivid his exposition of his theory.The substantial Introduction is Hegel''s best exposition of his general philosophy of art, and provides the ideal way into his Aesthetics. In Part I he considers the general nature of art: he distinguishes art, as a spiritual experience, from religion and philosophy; he discusses the beauty of art and differentiates it from the beauty of nature; and he examines artistic genius and originality. Part II provides a sort of history of art, divded into three periods called Symbolic (India, Persia, Egypt), Classical (Greece), and Romantic (medieval and post-medieval up to the end of the eighteenth century). Part III deals individTable of ContentsVOLUME I: TRANSLATOR'S PREFACE; INTRODUCTION; PART I: THE IDEA OF ARTISTIC BEAUTY, OR THE IDEAL; PART II: DEVELOPMENT OF THE IDEAL INTO THE PARTICULAR FORMS OF ART; SECTION I: THE SYMBOLIC FORM OF ART; SECTION II: THE CLASSICAL FORM OF ART; SECTION III: THE ROMANTIC FORM OF ART

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Book SynopsisIn his Aesthetics Hegel gives full expression to his seminal theory of art. He surveys the history of art from ancient India, Egypt, and Greece through to the Romantic movement of his own time, criticizes major works, and probes their meaning and significance; his rich array of examples gives broad scope for his judgement and makes vivid his exposition of his theory.The substantial Introduction is Hegel''s best exposition of his general philosophy of art, and provides the ideal way into his Aesthetics. In Part I he considers the general nature of art: he distinguishes art, as a spiritual experience, from religion and philosophy; he discusses the beauty of art and differentiates it from the beauty of nature; and he examines artistic genius and originality. Part II provides a sort of history of art, divded into three periods called Symbolic (India, Persia, Egypt), Classical (Greece), and Romantic (medieval and post-medieval up to the end of the eighteenth century). Part III deals individTable of ContentsVOLUME II. PART III: THE SYSTEM OF THE INDIVIDUAL ARTS; SECTION I: ARCHITECTURE; SECTION II: SCULPTURE; SECTION III: THE ROMANTIC ARTS; INDEX

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Book SynopsisThe distinctive concept of the symbol, articulated by such writers as Goethe, Schelling, and Coleridge, is of the utmost significance in the literary, philosophical, and even scientific thought of the Romantic period. This interdisciplinary historical study examines the development of the concept in a jargon-free style that will appeal to a broad range of readers.Trade ReviewThe Genealogy of the Romantic Symbol is a really fine book, and one that anyone interested in Romantic literary theory will find absorbing. Halmi draws on an impressively wide range of authorities; he gathers a complex argument into pages of pleasurable lucidity; and he pursues his quarry with grace. * Seamus Perry, The Wordsworth Circle *innovative... a brilliant and original study that is essential reading for scholars of the Romantic period. * Orianne Smith, Year's Work in English Studies *an important contribution to Romantic scholarship. * Carol Tully, The Modern Language Review *This book offers one of the most profound reflections on symbol since Paul de Man: subtle, original and provocative. It is a brief book, but extremely rich, and often brilliant. This is history of ideas as it ought to be written. * Michael John Kooy, THES *Halmi's book will take its place before long among the indespensable contributions to Romantic studies * Uttara Natarajan, Notes and Queries *Table of ContentsAcknowledgements ; Abbreviations ; 1. Defining the Romantic Symbol ; 2. Burdens of Enlightenment ; 3. Uses of Philosophy ; 4. Uses of Theology ; 5. Uses of Mythology ; Appendix: The So-called 'Oldest Programme for a System of German Idealism' ; Bibliography

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Book SynopsisWhy do gardens matter so much and mean so much to people? That is the intriguing question to which David Cooper seeks an answer in this book. Given the enthusiasm for gardens in human civilization ancient and modern, Eastern and Western, it is surprising that the question has been so long neglected by modern philosophy. Now at last there is a philosophy of gardens. Not only is this a fascinating subject in its own right, it also provides a reminder that the subject-matter of aesthetics is broader than the fine arts; that ethics is not just about moral issues but about ''the good life''; and that environmental philosophy should not focus only on ''wilderness'' to the exclusion of the humanly shaped environment. David Cooper identifies garden appreciation as a special human phenomenon distinct from both from the appreciation of art and the appreciation of nature. He explores the importance of various ''garden-practices'' and shows how not only gardening itself, but activities to which thTrade Reviewan intricately argued, beautifully nuanced and highly sensitive analysis of what gardens mean and what sort of enterprise they are . . . David E. Cooper has written a book that anyone who wants to understand gardening, our relationship with nature, and the arts will want to read. * Mara Miller, Journal of Aesthetics and Art Criticism *Table of Contents1. Taking Gardens Seriously ; 2. Art or Nature? ; 3. Art-and-Nature ; 4. Gardens, People, and Practices ; 5. Gardens and the Good Life ; 6. The Meaning of Gardens ; 7. The Garden as Epiphany ; 8. Conclusion: The Garden's Distinction

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Book SynopsisThe Oxford Handbooks series is a major new initiative in academic publishing. Each volume offers an authoritative and up-to-date survey of original research in a particular subject area. Specially commissioned essays from leading figures in the discipline give critical examinations of the progress and direction of debates. Oxford Handbooks provide scholars and graduate students with compelling new perspectives upon a wide range of subjects in the humanities and social sciences. The Oxford Handbook of Aesthetics brings the authority, liveliness, and multi-disciplinary scope of the Handbook series to the area where philosophy meets the arts. Jerrold Levinson has assembled a hugely impressive range of talent to contribute 48 brand-new essays, making this the most comprehensive guide available to the theory, application, history, and future of the field. This Handbook will be invaluable to academics and students across philosophy and all branches of the arts, both as the reference work of Trade Reviewthe philosophy of emotion as a whole is considerably richer as a result of this comprehensive, skilfully edited collection of high-quality philosophical work ... essential reading for those with an interest in the emotions * Michael Brady, British Journal of Aesthetics *This Handbook is a timely response to a growing interest in aesthetics ... it covers a good deal of ground, provides much interesting information and abounds in interesting quotations. * Peter Rickman, Philosophy Now *Levinson has achieved his intention to provide a collection from which both the professional philosopher and the enthusiastic non-professional can derive instruction and pleasure. . . . he has brought together many of the key practitioners in the field of philosophical aesthetics and this is reflected in the depth of subjects and the lucid quality of the writing. * British Journal of Aesthetics *Table of ContentsPreface ; 1. Philosophical Aesthetics: an Overview ; 2. History of Modern Aesthetics ; 3. Aesthetic Realism 1 ; 4. Aesthetic Realism 2 ; 5. Aesthetic Experience ; 6. Beauty ; 7. Aesthetics of Nature ; 8. Definition of Art ; 9. Ontology of Art ; 10. Medium in Art ; 11. Representation in Art ; 12. Expression in Art ; 13. Style in Art ; 14. Creativity in Art ; 15. Authenticity in Art ; 16. Intention in Art ; 17. Interpretation in Art ; 18. Value in Art ; 19. Humour ; 20. Metaphor ; 21. Fiction ; 22. Narrative ; 23. Tragedy ; 24. Art and Emotion ; 25. Art and Knowledge ; 26. Art and Morality ; 27. Art and Politics ; 28. Music ; 29. Painting ; 30. Literature ; 31. Architecture ; 32. Sculpture ; 33. Dance ; 34. Theatre ; 35. Poetry ; 36. Photography ; 37. Film ; 38. Feminist Aesthetics ; 39. Environmental Aesthetics ; 40. Comparative Aesthetics ; 41. Aesthetics and Evolutionary Psychology ; 42. Aesthetics and Cognitive Science ; 43. Aesthetics and Ethics ; 44. Aesthetics of Popular Art ; 45. Aesthetics of the Avant-Garde ; 46. Aesthetics of the Everyday ; 47. Aesthetics and Postmodernism ; 48. Aesthetics and Cultural Studies

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Book SynopsisWhy does Mark''s Jesus speak in parables? Why does Plato''s Socrates make bad arguments? Why are Beckett''s novels so inscrutable? And why don''t stage magicians even pretend to summon spirits anymore? In a series of captivating chapters on Mark, Plato, Beckett, Mallarmé, and Chaucer, Joshua Landy not only answers these questions but explains why they are worth asking in the first place.Witty and approachable, How to Do Things with Fictions challenges the widespread assumption that literary texts must be informative or morally improving in order to be of any real benefit. It reveals that authors are sometimes best thought of not as entertainers or as educators but as personal trainers of the brain, putting their willing readers through exercises designed to fortify specific mental capacities, from form-giving to equanimity, from reason to faith.Delivering plenty of surprises along the way--that moral readings of literature can be positively dangerous; that the parables were deliberatelTrade ReviewThis book may be most valuable for its call to pedagogical reform. It would be helpful for revising the aims of broad world-lit surveys or humanities courses, or, indeed, for reframing almost any literature class. ...Landy's book also offers persuasive talking points for any defense of the liberal arts mission... His book is a good manual for training Landy's own readers in how to become formative teachers. * Ashley Barnes, Comparative Literature *Joshua Landy has no patience for the simple-minded moral didacticism that permeates recent literary theory and philosophy. Sure-footed and light-handed, he emphasizes the 'formative' rather than the 'informative' function of literary fiction. Eloquent, erudite, witty, and just as passionate, Landy has given us a new way of looking at the importance of fiction for life * a new and marvelous 'defence of poesy.'Alexander Nehamas, author of Only a Promise of Happiness *What do we gain from reading fiction? Joshua Landy's brilliant new book advances a provocative answer with impressive verve, erudition, and insight. His discussion ranges from the New Testament to Plato, Mallarme, and Beckett, among many others. No reader will put down the book unaffected, or think of fiction in quite the same way again. * Charles L. Griswold, author of Self-Knowledge in Plato's Phaedrus *In this wonderfully engaging book, Joshua Landy writes against all of those (rather depressing) theories that argue for literary texts as guides for moral improvement, or as 'messages' for the reader. Instead, Landy identifies what he calls 'formative fiction' - literature that trains the reader in the act of reading itself - a compelling and refreshing study. * Francoise Meltzer, author of Seeing Double: Baudelaire's Modernity *This terrific book pulls no punches in engaging with scholarly debates, critiquing an array of knowledge-seeking approaches to fiction. Landy's constructive work, exemplified in the verve and affection with which he treats his 'formative fictions,' is persistently humane and practical, pressing us for openness to the vital exercise fictions offer. * Eileen John, Associate Professor of Philosophy, University of Warwick *If we persist in reading complicated books for something more than their plot, Landy has at least given us a series of thoughtful and persuasive reasons for doing so. * The Guardian *It is rare to read a work in which the sense comes through so fully of what it must be like to sit in the author's classroom; in this case, it is clear that Stanford students enjoy an intellectual treat, one now available to many others...Essential. * Choice *Table of ContentsTable of Contents ; Acknowledgments ; INTRODUCTION ; Thirteen Ways of Looking at a Fiction ; Formative Fictions ; The Temporality of the Reading Experience ; In Spite of Everything, a Role for Meaning ; A Polite Aside to Historians ; The Value of Formative Fictions ; PART ONE-CLEARING THE GROUND ; Chapter One-Chaucer: Ambiguity and Ethics ; Prudence or Oneiromancy? ; A Parody of Didacticism ; Preaching to the Converted ; The Asymmetry of 'Imaginative Resistance' ; Virtue Ethics and Gossip ; Qualifications ; Positive Views ; PART TWO- ENCHANTMENT AND RE-ENCHANTMENT ; Chapter Two-Mark: Metaphor and Faith ; Rhetorical Theories ; Five Variables, Six Readings ; Deliberate Opacity ; The Vision of Mark ; From Him Who Has Not ; To Him Who Has ; The Syrophenician Woman ; The Formative Circle ; Metaphor and Faith ; Theological Ramifications ; A Parable about Parables ; Getting It Wrong By Getting It Right ; Coda: The Secular Kingdom ; Appendix: "Le Cygne" ; Chapter Three-Mallarme: Irony and Enchantment ; Jean-Eugene Robert-Houdin ; Exorcisms and Experiments ; Science and Wonder ; Lucid Illusions ; Stephane Mallarme ; The Spell of Poetry ; Setting the Scene ; A Replacement Faith ; How to Do Things with Verses ; A Corner of Order ; The Magic of Rhyme ; A Training in Enchantment ; A Sequence of States ; The Birth of Modernism from the Spirit of Re-Enchantment ; PART THREE-LOGIC AND ANTI-LOGIC ; Chapter Four-Plato: Fallacy and Logic ; A Platonic Coccyx ; Ascent and Dissent ; The Developmental Hypothesis ; Dubious Dialectic ; Pericles, Socrates and Plato ; The Gorgias Unravels ; The Uses of Oratory ; Was Gorgias Refuted? ; Spiritual Exercises: Seven Points in Conclusion ; Appendix: Just How Bad is the Pericles Argument? ; Chapter Five-Beckett: Antithesis and Tranquillity ; Bringing Philosophy to an End ; Ataraxia ; Antilogoi ; One Step Forward ; Finding the Self to Lose the Self ; An Irreducible Singleness ; Res Cogitans ; Solutions and Dissolutions ; Two Failures ; "I confess, I give in, there is I" ; Negative Anthropology ; The Beckettian Spiral ; An End to Everything? ; Fail Better ; Glimpses of the Ideal ; Two Caveats ; Coda ; Works Cited

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Book SynopsisThe book brings together a selection of Malcolm Budd''s essays in aesthetics. A number of the essays are aimed at the abstract heart of aesthetics, attempting to solve a cluster of the most important issues in aesthetics which are not specific to particular art forms. These include the nature and proper scope of the aesthetic, the intersubjective validity of aesthetic judgements, the correct understanding of aesthetic judgements expressed through metaphors, aesthetic realism versus anti-realism, the character of aesthetic pleasure and aesthetic value, the aim of art and the artistic expression of emotion. Other essays are focussed on central issues in the aesthetics of particular art forms: two engage with the most fundamental issue in the aesthetics of music, the question of the correct conception of the phenomenology of the experience of listening to music with understanding; and two consider the nature of pictorial representation, one examining certain well-known views, the other arTrade ReviewAll topics addressed in the collection are dealt with with unmitigated rigour, and every scholar writing on them should take good note of what Budd has to say. * Paloma Atencia-Linares, Mind *This important collection by the prominent aesthetician Malcolm Budd brings together fourteen papers on the nature of aesthetics judgement and value, expression and movement in music, and depiction. In addition, there is a masterly analysis of and exposition of Kant's account of the pure judgement of taste and another of Wittgenstein's view of aesthetics ... Related chapters complement each other nicely without excessive overlap ... Philosophers of art will admire the unfussy care and insight with which Budd probes these intriguing topics, many of which lie at the 'abstract heart of aesthetics', as he rightly observes. I strongly recommend his book. * Stephen Davies, Notre Dame Philosophical Reviews *Table of ContentsIntroduction ; 1. Aesthetic Judgements, Aesthetic Principles and Aesthetic Properties ; 2. Aesthetic Essence ; 3. The Acquaintance Principle ; 4. The Intersubjective Validity of Aesthetic Judgements ; 5. The Pure Judgement of Taste as an Aesthetic Reflective Judgement ; 6. Understanding Music ; 7. The Characterization of Aesthetic Qualities by Essential Metaphors and Quasi-Metaphors ; 8. Musical Movement and Aesthetic Metaphors ; 9. Aesthetic Realism and Emotional Qualities of Music ; 10. On Looking at a Picture ; 11. The Look of a Picture ; 12. Wollheim on Correspondence, Projective Properties and Expressive Perception ; 13. Wittgenstein on Aesthetics ; Index

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Book SynopsisThe Kantian Aesthetic explains the kind of perceptual knowledge involved in aesthetic judgments. It does so by linking Kant''s aesthetics to a critically upgraded account of his theory of knowledge. This upgraded theory emphasizes those conceptual and imaginative structures which Kant terms, respectively, ''categories'' and ''schemata''. By describing examples of aesthetic judgment, it is shown that these judgments must involve categories and fundamental schemata (even though Kant himself, and most commentators after him, have not fully appreciated the fact). It is argued, in turn, that this shows the aesthetic to be not just one kind of pleasurable experience amongst others, but one based on factors necessary to objective knowledge and personal identity, and which, indeed, itself plays a role in how these capacities develop.In order to explain how individual aesthetic judgments are justified, and the aesthetic basis of art, however, the Kantian position just outlined has to be developTrade Reviewexciting and provocative * Philosophy in Review *Table of ContentsIntroduction ; 1. The Transcendental Deduction; Objective Knowledge and the Unity of Self- Consciousness ; 2. Imagination and the Conditions of Knowledge ; 3. Pure Aesthetic Judgment: A Harmony of Imagination and Understanding ; 4. The Universality and Justification of Taste ; 5. Adherent Beauty and Concepts of Perfection ; 6. From Aesthetic Ideas to the Avant-Garde: The Scope of Fine Art ; 7. The Kantian Sublime Revisited

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Book SynopsisThe Aesthetic Brain takes the reader on a wide-ranging journey through the world of beauty, pleasure, and art. Chatterjee uses neuroscience to probe how an aesthetic sense is etched in our minds and evolutionary psychology to explain why aesthetic concerns feature centrally in our lives. Along the way, Chatterjee addresses fundamental questions: What is beauty? Is beauty universal? How is beauty related to pleasure? What is art? Should art be beautiful? Do we have an instinct for art? Chatterjee starts by probing the reasons that we find people, places, and even numbers beautiful. At the root of beauty, he finds, is pleasure. He then examines our pleasures by dissecting why we want and why we like food, sex, and money and how these rewards relate to aesthetic encounters. His ruminations on beauty and pleasure prepare him and the reader to face art. He wanders through the problems of defining art, understanding contemporary art, and interpreting ancient art. He explores why art, somethiTrade ReviewIn this book, Dr Anjan Chatterjee. . . introduces us to the emerging field of neuroasthetics. . . In his cogent review of the long history of human artifact-making art, he carefully considers the many definitions of aesthetics, art, and beauty. . . The author comes to his persuasive conclusion after having carefully examined prehistoric art objects, the history of art, evolutionary biology, brain anatomy, and functional studies. * Roy G. Fitzgerald, MD, Journal of Clinical Psychiatry, Vol. 76, October 2015 *Table of ContentsPREFACE ; INTRODUCTION ; BEAUTY ; 1. What is this thing called beauty? ; 2. Captivating faces ; 3. The measure of facial beauty ; 4. The body beautiful ; 5. How the brain works ; 6. Brains behind beauty ; 7. Evolving beauty ; 8. Landscapes ; 9. Numbering beauty ; 10. The illogic of beauty ; PLEASURE ; 1. What is this thing called pleasure? ; 2. Food ; 3. Sex ; 4. Money ; 5. Liking, wanting, learning ; 6. The logic of pleasure ; ART ; 1. What is this thing called art? ; 2. Art: Biology and culture ; 3. Descriptive science of the arts ; 4. Experimental science of the arts ; 5. Conceptual art ; 6. The inception of art ; 7. Messy minds ; 8. Evolving art ; 9. Art: A tail or a song? ; 10. The serendipity of art

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Book SynopsisThis is the first book to explore all central issues surrounding the relationship between the film-image and philosophy. It tackles the work of particular philosophers of film (Žižek, Deleuze and Cavell) as well as general philosophical positions (Cognitivist and Culturalist), and analyses the ability of film to teach and create philosophy.Trade Review'In this engaging, comprehensive, incisive work, Mullarkey addresses whether film can philosophize on its own, adding something original, rather than simply illustrating concepts that philosophers extract from their own discourse An indispensible work for students/scholars in philosophy of film/art, aesthetics, and film studies.' D.W.Rothermel, CHOICE '...addresses the question of the relation between art and philosophy - the age-old problem of aesthetics - in an entirely original manner by examining how film changes the terms of this debate.' '...to summarize Mullarkey's text in terms of his criticism of other film theorists does not do justice to the intricate readings and impressive scope of Mullarkey's overall approach. His engagement with figures such as Jacques Rancière, Edward Branigan, Joseph Anderson, Badiou, and Cavell (to name a few) lead him to fascinating 'partial' observations on the nature of film.' 'The gesture Mullarkey employs - a graceful, seamless move from critical analysis to constructive observation - suggests a pluralistic strategy based on an ethics of affirmation and acknowledgement.' '...as a treatment of the question 'what does film mean for philosophy?', Mullarkey offers an intricate and considered study - with important consequences for philosophy in terms of what can be said, and what may be gestured to only by attention to what is left unsaid - that is to say, through a constellation of plural and variably flawed refractions.' - Amanda Dennis in The International Journal for Philosophical Studies 'This book, in some sense, brings to an end a certain phase of film theorizing and instead looks toward something quite new: how theories have been written and how they may be written, how they fall into types, how these types are filling out not a logical grid but a grid of the anxieties we feel, and the defenses we erect toward the everyday. A wonderful, ground-breaking book.' - Edward Branigan (University of California, Santa Barbara), author of Projecting a Camera: Language-Games in Film Theory and Narrative Comprehension and Film 'Highly original both in its concern for avoiding the illustrative approach generally favoured by philosophers, and in the speculative ambition that looms behind the critical edge of its readings of contemporary film- philosophers. The very question "when does the film itself happen?" is a fundamental one, which is rarely addressed. Mullarkey is opening the door to a brand new type of philosophical engagement with films.' - Elie During (Université de Paris X-Nanterre), author of Matrix: Machine philosophique 'Mullarkey brings an informed, critical view to a number of theories from both the Continental tradition (his specialization) and the Anglo-American tradition...Refractions of Reality is an original and valuable contribution to the field of film philosophy...It is perhaps most valuable in its highly successful dislocation of the rigid, myopic perspective of so many contemporary theories' - Joseph Mai, Notre Dame Philosophy ReviewsTable of ContentsAcknowledgements Preface: The Film-Envy of Philosophy Introduction: Nobody Knows Anything! Illustrating Manuscripts Bordwell and Other Cogitators Žižek and the Cinema of Perversion Deleuze's Kinematic Philosophy Cavell, Badiou, and Other Ontologists Expanded Cognitions and the Speeds of Cinema Fabulation, Process and Event Refractions of Reality Or, What is Thinking Anyway? Conclusion: Code Unknown - A Bastard Theory for a Bastard Art Notes Bibliography Index

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Book SynopsisMetaethics occupies a central place in analytical philosophy, and the last forty years has seen an upsurge of interest in questions about the nature and practice of morality. This collection presents original and ground-breaking research on metaethical issues from some of the very best of a new generation of philosophers working in this field.Table of ContentsAcknowledgements Series Editors' Preface Notes on Contributors Introduction; M.Brady Non-Naturalist Ethical Realism; W.Fitzpatrick Naturalistic Metaethics at Half Price; J.Gert In Defence of Moral Error Theory; J.Olson The Myth of Moral Fictionalism; T.Cuneo & S.Christy Metaethics and the Philosophy of Language; M.Chrisman How not to Avoid Wishful Thinking; M.Schroeder Internal Reasons and the Motivating Intuition; J.Markovits Beyond Wrong Reasons: The Buck-Passing Account of Value; U.Heuer A Wrong Turn to Reasons?; P.Väyrynen Shmagency Revisited; D.Enoch The Authority of Social Norms; N.Southwood Moral Epistemology; A.Hills Aesthetics, Objectivity and Particularism; S.Mckeever & M.Ridge Index

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Book SynopsisAn exploration of public performance in everyday life, by the leading cultural and social thinkerThe Performer explores the relations between performing in art (particularly music), politics and everyday experience. It focuses on the bodily and physical dimensions of performing, rather than on words. Richard Sennett is particularly attuned to the ways in which the rituals of ordinary life are performances.The book draws on history and sociology, and more personally on the author''s early career as a professional cellist, as well as on his later work as a city planner and social thinker. It traces the evolution of performing spaces in the city; the emergence of actors, musicians, and dancers as independent artists; the inequality between performer and spectator; the uneasy relations between artistic creation and social and religious ritual; the uses and abuses of acting by politicians. The Janus-faced art of performing is both destructive and civilizing.

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Book SynopsisThis study examines John Dewey's thinking about the arts and explores the practical implications of that thinking for educators. The author introduces the basics of Dewey's aesthetic theory and then looks at the ways in which a work of art can affect its creator and audience.Trade Review"Philip Jackson's searching meditations on Dewey and art are of abiding interest for all of us who care about our lives and how we nurture and nourish our children." Howard Gardner, Harvard Graduate School of Education "Jackson presents a useful and...insightful review of John Dewey's systematic consideration of the arts...Jackson examines Dewey's theories on how the arts might help people live their lives differently. He also asks teachers of all kinds to consider how they might use the 'lessons' of art in their role as educators...This book makes a sound addition to commentary on the writings of John Dewey and to the fields of curriculum studies, educational philosophy, and arts education." Choice

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Book SynopsisBertolt Brecht (1898-1956) is acknowledged as one of the great dramatists of the 20th century whose plays, work with the Berliner Ensemble and writing have had a considerable influence on the theatre. His landmark plays include The Threepenny Opera and, while exiled from Germany and living in the USA, such masterpieces as The Life of Galileo, Mother Courage and The Caucasian Chalk Circle.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisThis book collects the work of leading scholars on Alain Badiou and G.W.F. Hegel, creating a dialogue between, and a critical appraisal of, these two central figures in European philosophy.Trade ReviewThe essays in Jim Vernon and Antonio Calcagno's timely collection cover the multiple facets of Badiou's highly ambivalent rapport with Hegel's philosophy as it unfolds from the 1970s through today. . . .For those interested in Badiou and Badiou's relations with Hegel, Badiou and Hegel certainly is worth reading. It contains useful summaries and analyses of the place(s) of Hegel in the Badiouian oeuvre. * Notre Dame Philosophical Reviews *This book contains the first exhaustive analysis of Badiou’s brilliant and surprising texts on Hegel. The essays include an excellent treatment of infinity in Badiou and Hegel that discusses precise mathematical ontology in a way that non-mathematicians can follow and participate in: this is the sort of Badiou scholarship we need. They also include theses on materiality and dialectic, subject and event, society and decision, art and politics, love and tragedy, and, of course, truth procedures. For its close readings of Badiou, and current approaches to Hegel, this collection is indispensible. What is especially good is that it forces readers to participate in controversial decisions, and raises the level at which these controversies will have to be pursued in the future. -- Jay Lampert, University of Guelph, Duquesne UniversityThis collection is a sustained and timely examination of the relationship between one of the foremost philosophers of the twenty-first century and one of the major thinkers of the nineteenth. Of equal use and importance to Badiou and Hegel scholars alike, these essays should provide the bedrock of any serious discussion of many key philosophical terms and approaches over the coming years. -- Nina PowerTable of Contents1. Measuring Up: Some Consequences of Badiou’s Confrontation with Hegel, A.J. Bartlett and Justin Clemens 2. The Good, the Bad and the Indeterminate: Hegel and Badiou on the Dialectics of the Infinite, Tzuchien Tho 3. Badiou contra Hegel: The Materialist Dialectic Against the Myth of the Whole, Adriel M. Trott 4. The Question of Art: Badiou and Hegel, Gabriel Riera 5. Badiou with Hegel: Preliminary Remarks on A(ny) Contemporary Reading of Hegel, Frank Ruda 6. The Biolinguistic Challenge to an Intrinsic Ontology, Norman Madarasz 7. Badiou and Hegel on Love and the Family, Jim Vernon 8. Fidelity to the Political Event: Hegel, Badiou, and the Return to the Same, Antonio Calcagno 9. Taming the Furies: Badiou and Hegel on The Eumenides, Alberto Toscano

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Book SynopsisPraised in its original edition for its up-to-date, rigorous presentation of current debates and for the clarity of its presentation, Robert Stecker''s new edition of Aesthetics and the Philosophy of Art preserves the major themes and conclusions of the original, while expanding its content, providing new features, and enhancing accessibility. Stecker introduces students to the history and evolution of aesthetics, and also makes an important distinction between aesthetics and philosophy of art. While aesthetics is the study of value, philosophy of art deals with a much wider array of questions including issues in metaphysics, epistemology, the philosophy of mind, as well value theory. Described as a ''remarkably unified introduction to many contemporary debates in aesthetics and the philosophy of art,'' Stecker specializes in sympathetically laying bear the play of argument that emerges as competing views on a topic engage each other. This book does not simply present a controversy in Trade ReviewRobert Stecker's excellent book was already the best high-level introduction to philosophical aesthetics in the analytic tradition. It has retained this distinction in its second edition, while becoming both more accessible and more wide-ranging, and is appropriate for use in both undergraduate and graduate courses. -- Jerry Levinson, University of MarylandProfessor Stecker gives his readers the elements of aesthetics from an advanced standpoint. His coverage of the core topics in the field is admirably clear and accessible, but more importantly, it is incisive and at the cutting-edge of current debates. -- Paisley Livingston, Lingnan UniversityTable of ContentsChapter 1 Preface Chapter 2 Preface to Second Edition Chapter 3 Introduction Chapter 4 Part I: Aesthetics Chapter 5 Environmental Aesthetics: Natural Beauty Chapter 6 Conceptions of the Aesthetic: Aesthetic Experience Chapter 7 Conceptions of the Aesthetic: Aesthetic Properties Chapter 8 Part II: Philosophy of Art Chapter 9 What is Art? Chapter 10 What Kind of Object is a Work of Art? Chapter 11 Interpretation and the Problem of the Relevant Intention Chapter 12 Representation: Fiction Chapter 13 Representation: Depiction Chapter 14 Expressiveness in Music and Poetry Chapter 15 Artistic Value Chapter 16 Interaction: Ethical, Aesthetic and Artistic Value Chapter 17 The Value of Architecture Chapter 18 Conclusion Chapter 19 References Chapter 20 Index

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Book SynopsisAn introduction to the ideas of a thinker who greatly influenced the 1960s protest movementsTrade Review'Goes back to Marcuse's work on aesthetics to link philosophy, art, history, political analysis, and sociological insights in a deeply humane search for the way to a better world. It deserves a very wide readership' -- Peter Marcuse (with obvious bias).'A comprehensive critical overview and an interrogation of Marcuse's writings on art and aesthetics' -- Douglas Kellner, UCLA, author of Herbert Marcuse and the Crisis of Marxism and Media Spectacle and the Crisis of Democracy'Introducing the aesthetic writings of radical philosopher Herbert Marcuse, cultural theorist Malcolm Miles explores the role the imagination plays for Marcuse in political transformation, offering us the hope of a horizon to neoliberal capitalism's treachery' -- Jane Rendell, Professor and Vice Dean of Research, The Bartlett, UCL, and author of Site-Writing (2010), Art and Architecture (2006) and The Pursuit of Pleasure (2002).Table of ContentsIntroduction 1. Aesthetics and the Reconstruction of Society 2. The Artist and Social Theory 3. Affirmations 4. A Literature of Intimacy 5. Society as a Work of Art 6. The End of Utopia 7. The Aesthetic Dimension 8. Legacies and Practices Notes Index

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