%{search_type} search results

• Introduction: Ethical and Political Thinking after Literature
• (source: Nielsen Book Data)

How do we read after the so-called death of literature? If we are to attend to the proclamations that the representational apparatuses of literature and politics are dead, what aesthetic, ethical, and political possibilities remain for us today? Our critical moment, Graff Zivin argues, demands anarchaeological reading: reading for the blind spots, errors, points of opacity or untranslatability in works of philosophy and art. Rather than applying concepts from philosophy in order to understand or elucidate cultural works, the book exposes works of philosophy, literary theory, narrative, poetry, film, and performance art and activism to one another. Working specifically with art, film, and literature from Argentina (Jorge Luis Borges, Juan Jose Saer, Ricardo Piglia, Cesar Aira, Albertina Carri, the Internacional Errorista), Graff Zivin allows such thinkers as Levinas, Derrida, Badiou, and Ranciere to be inflected by Latin American cultural production. Through these acts of interdiscursive and interdisciplinary (or indisciplinary) exposure, such ethical and political concepts as identification and recognition, decision and event, sovereignty and will, are read as constitutively impossible, erroneous. Rather than weakening either ethics or politics, however, the anarchaeological reading these works stage and demand opens up and radicalizes the possibility of justice.
(source: Nielsen Book Data)

• Introduction. L'esthétique à l'heure de l'épistémologie
• Conceptions et reconceptions de l'esthétique
• Qu'est-ce qu'interpréter philosophiquement une oeuvre d'art ?
• Aesthetics and the Fact of Naturalization
• Une reconception vertueuse de l'esthétique philosophique
• Percevoir une oeuvre d'art : compétences et présupposés conceptuels
• The Epistemic Presuppositions of "Hearing Something as a Musical Work"
• Walton sur les catégories de la compréhension esthétique
• What is an artistic paradigm ?
• La valeur cognitive de l'art
• Fiction and Belief
• Un interprète peut-il connaître quoi que ce soit ?
• Understanding Understanding Art
• Perspectives d'application
• Ce que l'art conceptuel dit
• Quelques considérations épistémologiques préalables à une philosophie de l'architecture
• Fact, Fiction, and Virtual Worlds
• Le blues sans mélancolie? Contre les "histoires révisionnistes"
• Conclusion. Perspectives et incertitudes sur la "compréhension".

"Le terme "esthétique" désigne une discipline philosophique. Une épistémologie de l'esthétique est une enquête méthodologique sur cette discipline. Le terme "esthétique" qualifie aussi les notions d'expérience, de propriétés, de pensée. L'épistémologie de l'esthétique porte alors sur les opérations sensibles et cognitives caractérisant les expériences ou les modes de pensée esthétiques. La première partie, méta-esthétique, examine différentes façons de faire de l'esthétique (Pierre-Henry Frangne, Jacques Morizot, Roger Pouivet). La deuxième partie de l'ouvrage s'interroge sur les relations conceptuelles qui sous-tendent notre perception des oeuvres d'art (Alessandro Arbo, Guillaume Schuppert, Carole Talon-Hugon). La troisième partie porte sur la valeur cognitive des arts (Derek Matravers, Julia Beauquel, Catherine Elgin). La dernière partie explore certaines applications des questions épistémologiques en esthétique (Sandrine Darse' sur l'art conceptuel, Hervé Gaff sur l'architecture, Alexandre Declos sur les jeux vidéo, Vincent Granata sur le blues). On a pu parler d'un "tournant épistémologique en esthétique". Ce livre le prend délibérément."--Page 4 of cover.

This volume examines the great varieties of artistic experience from first hand phenomenological descriptions. It features detailed and concrete analyses which provides readers with in-depth insights into each specific domain of artistic experience. Coverage includes phenomenological elucidation of the aesthetic attitude, the power of imagination, and the logic of sensibility. The essays also detail concrete phenomenological analyses of aesthetic experiences in poetry, painting, photography, drama, architecture, and urban aesthetics. The book contains essays from "Logos and Aisthesis: Phenomenology and the Arts, " an international conference held at the Chinese University of Hong Kong. It brings together a team of top scholars from both the East and the West and offers readers a global perspective on this interesting topic. These innovative, yet accessible, essays, will benefit students and researchers in philosophy, aesthetics, the arts, and the humanities. They will also be of interest to specialists in phenomenology.
(source: Nielsen Book Data)

• Notes on Contributors Introduction (Florian Cova, University of Geneva, Switzerland, and Sebastien Rehault, University of Lorraine, France) Acknowledgements Part I: Investigating the Nature of Aesthetic Judgment
• 1. Beyond Intersubjective Validity: Recent Empirical Investigations into the Nature of Aesthetic Judgement (Florian Cova, University of Geneva, Switzerland)
• 2. Aesthetic Testimony and Experimental Philosophy (James Andow, University of Reading, UK)
• 3. Impure Aesthetics (Jesse Prinz & Angelika Seidel, City University of New York, USA) Part II: The Ontology of Art
• 4. Why is that Art? (Richard Kamber & Taylor Enoch, The College of New Jersey, USA)
• 5. Artworks as Extensions of their Creator (George Newman & Rosanna Smith, Yale University, USA) Part III: Engaging with Art: Imagination and Emotions
• 6. Being Quasi-moved: A View from the Lab (Jerome Pelletier, Universite de Brest, France)
• 7. The Content-dependence of Imaginative Resistance (Hanna Kim, Markus Kneer, Michael T. Stuart)
• 8. Aphantasia and the Decay of Mental Images (Steve Humbert-Droz, University of Fribourg, Switzerland)
• 9. The Beautiful, the Sublime, and the Self (Margherita Arcangeli, University of Geneva, Switzerland, and Marco Sperduti, Ecole Normale Superieure, France, and Jerome Dokic, EHESS, France) Part IV: Aesthetics and Philosophy of Language
• 10. Lost in Musical Translation: A cross-cultural study of musical grammar and its relation to affective expression in two musical idioms between Chennai and Geneva (Constant Bonard, University of Geneva, Switzerland)
• 11. An Empirical Approach to Aesthetic Predicates (Isidora Stojanovic, Institut Jean Nicod, CNRS, France)
• 12. The Continuity between Art and Everyday Communication (Alessandro Pignocchi, Ecole Normale Superieure, France) Part V: Metaphilosophy
• 13. Beauty and the Agreeable: A Critique of Experimental Aesthetics (Nick Zangwill, University of Hull, UK)
• 14. Are Aestheticians' Intuitions Sitting Pretty? (Jonathan Weinberg, University of Arizona, USA)
• 15. Experimental Philosophy of Aesthetics as Public Philosophy (Shen-Yi Liao, University of Puget Sound, USA and Aaron Meskin, University of Leeds, UK) Index.
• (source: Nielsen Book Data)

Experimental philosophy has blossomed into a variety of philosophical fields including ethics, epistemology, metaphysics and philosophy of language. But there has been very little experimental philosophical research in the domain of philosophical aesthetics. Advances to Experimental Philosophy of Aesthetics introduces this burgeoning research field, presenting it both in its unity and diversity, and determining the nature and methods of an experimental philosophy of aesthetics. Addressing a wide variety of empirical claims that are of interest to philosophers and psychologists, a team of authors from different disciplines tackle traditional and new problems in aesthetics, including the nature of aesthetic properties and norms, the possibility of aesthetic testimony, the role of emotions and moral judgment in art appreciation, the link between art and language, and the role of intuitions in philosophical aesthetics. Interacting with other disciplines such as moral psychology and linguistics, it demonstrates how philosophical aesthetics can integrate empirical methods and discover new ways of approaching core problems. Advances to Experimental Philosophy of Aesthetics is an important contribution to understanding aesthetics in the 21st century.
(source: Nielsen Book Data)

A new speculative ontology of aesthetics In Aesthesis and Perceptronium, Alexander Wilson presents a theory of materialist and posthumanist aesthetics founded on an original speculative ontology that addresses the interconnections of experience, cognition, organism, and matter. Entering the active fields of contemporary thought known as the new materialisms and realisms, Wilson argues for a rigorous redefining of the criteria that allow us to discriminate between those materials and objects where aesthesis (perception, cognition) takes place and those where it doesn't. Aesthesis and Perceptronium negotiates between indiscriminately pluralist views that attribute mentation to all things and eliminative views that deny the existence of mentation even in humans. By recasting aesthetic questions within the framework of "epistemaesthetics, " which considers cognition and aesthetics as belonging to a single category that can neither be fully disentangled nor fully reduced to either of its terms, Wilson forges a theory of nonhuman experience that avoids this untenable dilemma. Through a novel consideration of the evolutionary origins of cognition and its extension in technological developments, the investigation culminates in a rigorous reevaluation of the status of matter, information, computation, causality, and time in terms of their logical and causal engagement with the activities of human and nonhuman agents. .
(source: Nielsen Book Data)

The Aesthetic Animal answers the ultimate questions of why we adorn ourselves, embellish our things and surroundings, and produce art, music, song dance, and fiction. Humans are aesthetic animals that spend vast amounts of time and resources on seemingly useless aesthetic activities. However, nature would not allow a species to waste precious time and effort on activities completely unrelated to survival, reproduction, and the well-being of that species. Consequently, the aesthetic impulse must have some important biological functions. A number of observations indicate that the aesthetic impulse is an inherent part of human nature, and therefore a primary impulse in its own right with several important functions: The aesthetic impulse may guide us toward what is biologically good for us, and help us choose the right fitness enhancing items in our surroundings. It is a valid individual fitness indicator as well as a unifying social group marker, and aesthetically skilled individuals get more mating possibilities, higher status and more collaborative offers. The book is written in a lively and entertaining tone, with beautiful color illustrations. It covers a wide field of aesthetic behaviors from cave art, graffiti, tattoos, and piercings over fashion, design, music, song, and dance. It presents an original and comprehensive synthesis of the empirical field, synthesizing data from archeology, cave art, anthropology, biology, ethology, behavioral- and evolutionary psychology and neuro-aesthetics. It is a must-read for people interested in biology, psychology, anthropology, architecture, design, fashion, body culture, art, and the evolution of aesthetics.
(source: Nielsen Book Data)

• Introduction
• 1. Competitive Courtship and Aesthetic Judgement/Choice: Darwin's Model of the Arts
• 2. The Arts as Promoters of Social Cooperation and Cohesion
• 3. Engagement in the Arts as Ontogenetic Self-(Trans-)Formation
• 4. A Cooptation Model of the Evolution of the Human Arts: The Special Role of Play Behaviour, Technology, and Symbolic Cognition Bibliography Index.
• (source: Nielsen Book Data)

Darwin famously proposed that sexual competition and courtship is (or at least was) the driving force of "art" production not only in animals, but also in humans. The present book is the first to reveal that Darwin's hypothesis, rather than amounting to a full-blown antidote to the humanist tradition, is actually strongly informed both by classical rhetoric and by English and German philosophical aesthetics, thereby Darwin's theory far richer and more interesting for the understanding of poetry and song. The book also discusses how the three most discussed hypothetical functions of the human arts--competition for attention and (loving) acceptance, social cooperation, and self-enhancement--are not mutually exclusive, but can well be conceived of as different aspects of the same processes of producing and responding to the arts. Finally, reviewing the current state of archeological findings, the book advocates a new hypothesis on the multiple origins of the human arts, posing that they arose as new variants of human behavior, when three ancient and largely independent adaptions--sensory and sexual selection-driven biases regarding visual and auditory beauty, play behavior, and technology--joined forces with, and were transformed by, the human capacities for symbolic cognition and language.
(source: Nielsen Book Data)

• Acknowledgments x Extracts from the General Introduction to the First Edition (2004) xiii General Introduction to the Second Edition xvii Part I Identifying Art 1 Introduction 3
• 1 The Artworld 7 Arthur C. Danto
• 2 The New Institutional Theory of Art 15 George Dickie
• 3 An Aesthetic Definition of Art 22 Monroe C. Beardsley
• 4 "But They Don't Have Our Concept of Art" 30 Denis Dutton
• 5 Nobody Needs a Theory of Art 43 Dominic McIver Lopes
• 6 Art: What it Is and Why it Matters 54 Catharine Abell Part II Ontology of Art 67 Introduction 69
• 7 What a Musical Work Is 71 Jerrold Levinson
• 8 Defending Musical Platonism 84 Julian Dodd
• 9 Against Musical Ontology 98 Aaron Ridley
• 10 The Ontology of Art and Knowledge in Aesthetics 108 Amie L. Thomasson Part III Aesthetic Properties and Aesthetic Experience 117 Introduction 119
• 11 Aesthetic Concepts 121 Frank Sibley
• 12 Categories of Art 134 Kendall L. Walton
• 13 In Defence of Moderate Aesthetic Formalism 149 Nick Zangwill
• 14 How to Be a Pessimist about Aesthetic Testimony 159 Robert Hopkins
• 15 Recent Approaches to Aesthetic Experience 170 Noel Carroll Part IV Intention and Interpretation 183 Introduction 185
• 16 Intentions and Interpretations: A Fallacy Revived 187 Monroe C. Beardsley
• 17 The Literary Work as a Pliable Entity: Combining Realism and Pluralism 197 Torsten Pettersson
• 18 Authors' Intentions, Literary Interpretation, and Literary Value 208 Stephen Davies Part V Values of Art 223 Introduction 225
• 19 Originals, Copies, and Aesthetic Value 229 Jack W. Meiland
• 20 Artistic Value 236 Malcolm Budd
• 21 The Ethical Criticism of Art 247 Berys Gaut
• 22 Artistic Value and Opportunistic Moralism 258 Eileen John
• 23 What's Wrong with the (Female) Nude? A Feminist Perspective on Art and Pornography 266 A.W. Eaton Part VI Art and Knowledge 283 Introduction 285
• 24 On the Cognitive Triviality of Art 289 Jerome Stolnitz
• 25 Art and Moral Knowledge 295 Cynthia A. Freeland
• 26 Reading Fiction and Conceptual Knowledge: Philosophical Thought in Literary Context 310 Eileen John
• 27 Cognitive Values in the Arts: Marking the Boundaries 326 Peter Lamarque Part VII Fictionality and Imagination 337 Introduction 339
• 28 Fearing Fictions 343 Kendall L. Walton
• 29 The Logical Status of Fictional Discourse 355 John Searle
• 30 The Expression of Feeling in Imagination 363 Richard Moran
• 31 The Puzzle of Imaginative Resistance 378 Tamar Szabo Gendler
• 32 Anne Bronte and the Uses of Imagination 393 Gregory Currie
• 33 Fiction as a Genre 402 Stacie Friend Part VIII Pictorial Art 417 Introduction 419
• 34 On Pictorial Representation 421 Richard Wollheim
• 35 Pictorial Realism 431 Catharine Abell
• 36 Telling Pictures: The Place of Narrative in Late Modern `Visual Art' 441 David Davies Part IX Photography and Film 451 Introduction 453
• 37 Photography and Representation 457 Roger Scruton
• 38 Photography and Causation: Responding to Scruton's Scepticism 472 Dawn M. Phillips
• 39 Cinematic Art 483 Berys Gaut
• 40 Theses on Cinema as Philosophy 496 Paisley Livingston
• 41 Narration in Motion 503 Katherine J. Thomson-Jones Part X Literature 511 Introduction 513
• 42 Style and Personality in the Literary Work 517 Jenefer M. Robinson
• 43 Literary Aesthetics and Literary Practice 527 Stein Haugom Olsen
• 44 Fictional Characters and Literary Practices 537 Amie L. Thomasson
• 45 The Elusiveness of Poetic Meaning 549 Peter Lamarque Part XI Music 561 Introduction 563
• 46 The Profundity of Music 567 Peter Kivy
• 47 Against Emotion: Hanslick Was Right about Music 574 Nick Zangwill
• 48 Listening with Emotion: How Our Emotions Help Us to Understand Music 583 Jenefer Robinson Part XII Popular Arts 601 Introduction 603
• 49 Defining Mass Art 607 Noel Carroll
• 50 Just a Song? Exploring the Aesthetics of Popular Song Performance 623 Jeanette Bicknell
• 51 Comics as Literature? 632 Aaron Meskin
• 52 The Vice of Snobbery: Aesthetic Knowledge, Justification and Virtue in Art Appreciation 647 Matthew Kieran Part XIII Aesthetics of Nature and Everyday Aesthetics 659 Introduction 661 53 Appreciation and the Natural Environment 665 Allen Carlson
• 54 Scientific Knowledge and the Aesthetic Appreciation of Nature 673 Patricia Matthews
• 55 Aesthetic Character and Aesthetic Integrity in Environmental Conservation 684 Emily Brady
• 56 Everyday Aesthetics 695 Yuriko Saito
• 57 The Pervasiveness of the Aesthetic in Ordinary Experience 700 Sherri Irvin Index 710.
• (source: Nielsen Book Data)

For over fifty years, philosophers working within the broader remit of analytic philosophy have developed and refined a substantial body of work in aesthetics and the philosophy of art, curating a core foundation of scholarship which offers rigor and clarity on matters of profound and perennial interest relating to art and all forms of aesthetic appreciation. Now in its second edition and thoroughly revised, Aesthetics and the Philosophy of Art--The Analytic Tradition: An Anthology captures this legacy in a comprehensive introduction to the core philosophical questions and conversations in aesthetics. Through 57 key essays selected by leading scholars Peter Lamarque and Stein Haugom Olsen, this anthology collects modern classics as well as new contributions on essential topics such as the identification and ontology of art, interpretation, values of art, art and knowledge, and fiction and the imagination. New to this edition are selections which treat aesthetic experience more widely, including essays on the aesthetics of nature and aesthetics in everyday life. Other carefully-chosen pieces analyze the practice and experience of specific art forms in greater detail, including painting, photography, film, literature, music, and popular art such as comics. This bestselling collection is an essential resource for students and scholars of aesthetics, designed to foster a foundational understanding of both long-standing and contemporary topics in the field.
(source: Nielsen Book Data)

How aesthetics-understood as a more encompassing framework for human activity-might become the primary discourse for political and social engagement. These essays make the case for a reignited understanding of aesthetics-one that casts aesthetics not as illusory, subjective, or superficial, but as a more encompassing framework for human activity. Such an aesthetics, the contributors suggest, could become the primary discourse for political and social engagement. Departing from the "critical" stance of twentieth-century artists and theorists who embraced a counter-aesthetic framework for political engagement, this book documents how a broader understanding of aesthetics can offer insights into our relationships not only with objects, spaces, environments, and ecologies, but also with each other and the political structures in which we are all enmeshed. The contributors-philosophers, media theorists, artists, curators, writers and architects including such notable figures as Jacques Ranciere, Graham Harman, and Elaine Scarry-build a compelling framework for a new aesthetic discourse. The book opens with a conversation in which Ranciere tells the volume's editor, Mark Foster Gage, that the aesthetic is "about the experience of a common world." The essays following discuss such topics as the perception of reality; abstraction in ethics, epistemology, and aesthetics as the "first philosophy"; Afrofuturism; Xenofeminism; philosophical realism; the productive force of alienation; and the unbearable lightness of current creative discourse. Contributors Mark Foster Gage, Jacques Ranciere, Elaine Scarry, Graham Harman, Timothy Morton, Ferda Kolatan, Adam Fure, Michael Young, Nettrice R. Gaskins, Roger Rothman, Diann Bauer, Matt Shaw, Albena Yaneva, Brett Mommersteeg, Lydia Kallipoliti, Ariane Lourie Harrison, Rhett Russo, Peggy Deamer, Caroline Picard Matt Shaw, Managing Editor.
(source: Nielsen Book Data)

• Introduction: The Politics of Artistic Creation
• Chapter 1 - Conditions of Self-Consciousness: The Necessity of the Aesthetic
• Chapter 2 - The Depths of Pictorial Art
• Chapter 3 - Hyperbodiment and Aesthetic Meaning in Film
• Chapter 4 - The Intimacy of Reading: Literature as Art
• Chapter 5 - A Little Theatre...
• Chapter 6 - Music As Education
• Chapter 7 - Arts in the Digital Age.
• (source: Nielsen Book Data)

This book shows that art involves an aesthetics of self-becoming, wherein we do not simply consume artistic meaning, but become empowered-by adapting ourselves to what creation in the different art forms makes possible. Paul Crowther argues that the great political task in aesthetics is no longer the creation of political art as such, but rather the winning back of art and aesthetics as central societal concerns. This involves the overcoming of neo-liberal treatments of art as mere commodity and misguided attitudes that dismiss it as the product of dead white European males. The book begins with a theory of self-consciousness which reveals the necessary role played by the aesthetic in personal identity. It then emphasises how art forms empower through processes of making and aesthetic effects that are unique to them individually. To show this, he considers the ontology of pictorial art, sculpture, installation and assemblage works, architecture, literature, cinema, and music. His arguments concerning these are supported, throughout, by in-depth discussions of specific artworks. The book's effect, overall is to reorientate aesthetics by showing how art empowers through its revelation of new possibilities of experience. The Aesthetics of Self-Becoming will appeal to philosophers of art and aesthetics, as well as scholars in art history, literary studies, film studies, and music theory who are interested in the book's central concerns.
(source: Nielsen Book Data)

• Acknowledgments vii Introduction 1
• 1 Plato, The Republic, Book 10 9
• 2 Aristotle, Poetics, Chapters 1-15 28
• 3 (A) Mo Tzu, "Against music" (B) Hsun Tzu, "A discussion of music" 44
• 4 Plotinus, Enneads, 1.6 55
• 5 (A) Leon Battista Alberti, On Painting, from Books II and III (B) Leonardo da Vinci, Notebooks (Selections) 66
• 6 Shih-t'ao, "Quotes on Painting" 77
• 7 David Hume, "Of the standard of taste" 89
• 8 Immanuel Kant, "Critique of aesthetic judgement, "Sections 1-14, 16, 23-4, 28 108
• 9 Friedrich Schiller, On the Aesthetic Education of Man, Letters 26-7 139
• 10 G.W.F. Hegel, Introduction to Aesthetics, Chapters 1-3 154
• 11 Arthur Schopenhauer, The World as Will and Representation, Vol. I,
• Section 52 168
• 12 (A) Walter Pater, The Renaissance, from Preface and Conclusion (B) Oscar Wilde, "The Decay of Lying" (Selections) 183
• 13 Leo Tolstoy, "On art" 196
• 14 Clive Bell, "The aesthetic hypothesis" 210
• 15 A.K. Coomaraswamy, The Dance of Si va, Essays 3 4 227
• 16 Junichiro Tanizaki, In Praise of Shadows (Selections) 243
• 17 John Dewey, Art as Experience, Chapters 1-2 257
• 18 Martin Heidegger, "The origin of the work of art, " from Lectures 1 and 2 280
• 19 R.G. Collingwood, The Principles of Art,
• Chapter 7 296
• 20 Ronald W. Hepburn, "Aesthetic appreciation of nature" 319
• 21 Arthur C. Danto, "The Artworld" 337 Index 353.
• (source: Nielsen Book Data)

The newly expanded and revised edition of Cooper's popular anthology featuring classic writings on aesthetics, both historical and contemporary The second edition of this bestselling anthology collects essays of canonical significance in aesthetics and the philosophy of art, featuring a wide range of topics from the nature of beauty and the criteria for aesthetic judgement to the value of art and the appreciation of nature. Includes texts by classical philosophers like Plato and Kant alongside essays from art critics like Clive Bell, with new readings from Leonardo da Vinci, Oscar Wilde, Walter Pater, Ronald W. Hepburn, and Arthur C. Danto among others Intersperses philosophical scholarship with diverse contributions from artists, poets, novelists, and critics Broadens the scope of aesthetics beyond the Western tradition, including important texts by Asian philosophers from Mo Tzu to Tanizaki Includes a fully-updated introduction to the discipline written by the editor, as well as prefaces to each text and chapter-specific lists of further reading.
(source: Nielsen Book Data)

Reconsiders exceptionalism between aesthetics and politics Here, Arne De Boever proposes the notion of aesthetic exceptionalism to describe the widespread belief that art and artists are exceptional. Against Aesthetic Exceptionalism challenges that belief by focusing on the sovereign artist as genius, as well as the original artwork as the foundation of the art market. Engaging with sculpture, conceptual artwork, and painting by emerging and established artists, De Boever proposes a worldly, democratic notion of unexceptional art as an antidote to the problems of aesthetic exceptionalism. Forerunners: Ideas First Short books of thought-in-process scholarship, where intense analysis, questioning, and speculation take the lead.
(source: Nielsen Book Data)

• Preface
• 1. Introduction: Reinterpreting Landscapes in an Evolving World
• 2. The Pastoral Tradition as Inherited Motives
• 3. From Classical Pastorals to Pastoral Landscapes: Rebirth of the Landscape Idea Through Analytical Narration
• 4. Instances of Pastoral Motivation in Contemporary Landscape Analytical Practice
• 5. Articulating Analytical Narratives of Contemporary Pastoral Landscapes
• 6. The Landscape Analyst's Pastoral Action
• Glossary.
• (source: Nielsen Book Data)

Arcadia Updated delves into the concept of landscape as it is shaped by the literary tradition and material works known as pastoral. Referring to several of the tradition's works as well as scholarly critiques, Fiskevold and Geelmuyden highlight how individual landscape perception is primarily a cultural construct: each individual may see a unique landscape based on personal experiences, but simultaneously, landscape represents a tradition of engaging with nature and land, which has been largely forgotten. In re-engaging and connecting the practice of understanding landscapes with the pastoral tradition, the authors establish a common ground for treating landscape as an object of analysis in landscape planning. Arcadia Updated contributes to the methodological debate concerning landscape character assessment. Including 30 black-and-white images, this book analyses how humans engage with land organically, materially and communicatively. It seeks to raise landscape awareness as both an individual and a collective act of imagination. The practice of analysing landscapes is an ongoing culture of reinterpreting the land as landscape in response to society's development and technical progress. The role of the landscape analyst is to interpret the contemporary world and offer visual explanations of it. This book will be beneficial to professional landscape planners as well as to academics and students of landscape, literature and cultural studies. It provides an essential contribution to the cross-disciplinarity of the landscape discourse.
(source: Nielsen Book Data)

• Introduction
• Chapter 1: A Critique of the Autonomy Paradigm
• Chapter 2: From Kant to Hegel and Beyond
• Chapter 3: Autonomy as Self-Referential Constitution: Art as Practical Reflection
• Chapter 4: Art as Practice of Freedom Bibliography Index.
• (source: Nielsen Book Data)

How is art both distinct and different from the rest of human life, while also mattering in and for it? This central yet overlooked question in contemporary philosophy of art is at the heart of Georg W. Bertram's new aesthetic. Drawing on the resources of diverse philosophical traditions - analytic philosophy, French philosophy, and German post-Kantian philosophy - his book offers a systematic account of art as a human practice. One that remains connected to the whole of life.
(source: Nielsen Book Data)

How can we imagine a future not driven by capitalist assumptions about humans and the wider world? How are a range of contemporary artistic and popular cultural practices already providing pathways to post-capitalist futures? Authors from a variety of disciplines answer these questions through writings on blues and hip hop, virtual reality, post-colonial science fiction, virtual gaming, riot grrrls and punk, raku pottery, post-pornography fanzines, zombie films, and role playing. The essays in Art as Revolt are clustered around themes such as technology and the future, aesthetics and resistance, and ethnographies of the self beyond traditional understandings of identity. Using philosophies of immanence - describing a system that gives rise to itself, independent of outside forces - drawn from a rich and evolving tradition that includes Spinoza, Nietzsche, Deleuze, and Braidotti, the authors and editors provide an engrossing range of analysis and speculation. Together the essays, written by experts in their fields, stage an important collective, transdisciplinary conversation about how best to talk about art and politics today. Sophisticated in its theoretical and philosophical premises, and engaging some of the most pressing questions in cultural studies and artistic practice today, Art as Revolt does not provide comfortable closure. Instead, it is understood by its authors to be a "Dionysian machine, " a generator of open-ended possibility and potential that challenges readers to affirm their own belief in the futures of this world. Contributors include Timothy J. Beck (University of West Georgia), Mark Bishop (Independent Scholar), Dave Collins (University of West Georgia), David Fancy (Brock University), Veronica Pacini-Ketchabaw (University of Western Ontario), Malisa Kurtz (Independent Scholar), Nicole Land (Ryerson University), Eric Lochhead (Youth Author Calgary Alberta), Douglas Ord (Doctoral Student University of Western Ontario), Joanna Perkins (Independent Scholar), Peter Rehberg (Institute for Cultural Inquiry-Berlin), Chris Richardson (Young Harris College), Hans Skott-Myhre (Kennesaw State University), and Kathleen Skott-Myhre (University of West Georgia).
(source: Nielsen Book Data)

• Preface: Tracking Intentions
• Chapter 1: What Artists Tell Us
• Chapter 2: Some Central Concepts and Theories
• Chapter 3: More Clues from Plato and Aristotle
• Chapter 4: A Model of the Work of Art
• Chapter 5: Structural and Hermeneutic Considerations Involved in Artistic Creation and Aesthetic Judgment
• Chapter 6: Implications Conclusion Bibliography About the Authors.
• (source: Nielsen Book Data)

Artistic creation has proven remarkably resistant to philosophical analysis. Artists have long struggled to explain how they do what they do, and philosophers have struggled along with them. This study does not attempt to offer a comprehensive account of all creativity or all art. Instead it tries to identify an essential feature of an activity that has been cloaked in mystery for as long as history records. Jeff Mitscherling and Paul Fairfield argue that the process by which art is created has a good deal in common with the experience of the audience of a work, and that both experiences may be described phenomenologically in ways that show surprising affinities with what artists themselves often report.
(source: Nielsen Book Data)

• Devastation
• Anguish
• Irresolvability
• Luck
• Plant
• Home

A philosophical and cultural distillation of the bleak joys in today's ambivalent ecologies and patterns of life Bleak Joys develops an understanding of complex entities and processes-from plant roots to forests to ecological damage and its calculation-as aesthetic. It is also a book about "bad" things, such as anguish and devastation, which relate to the ecological and technical but are also constitutive of politics, the ethical, and the formation of subjects. Avidly interdisciplinary, Bleak Joys draws on scientific work in plant sciences, computing, and cybernetics, as well as mathematics, literature, and art in ways that are not merely illustrative of but foundational to our understanding of ecological aesthetics and the condition in which the posthumanities are being forged. It places the sensory world of plants next to the generalized and nonlinear infrastructure of irresolvability-the economics of indifference up against the question of how to make a home on Planet Earth in a condition of damaged ecologies. Crosscutting chapters on devastation, anguish, irresolvability, luck, plant, and home create a vivid and multifaceted approach that is as remarkable for its humor as for its scholarly complexity. Engaging with Deleuze, Guattari, and Bakhtin, among others, Bleak Joys captures the modes of crises that constitute our present ecological and political condition, and reckons with the means by which they are not simply aesthetically known but aesthetically manifest.
(source: Nielsen Book Data)

• Preface xi Introduction. The Difference Aesthetics Makes
• 1
• 1. Knowledge under Cover
• 26
• 2. Pedagogies of Liberal Humanism
• 51
• 3. Making Sense Otherwise
• 74
• 4. Mis/Taken Universals
• 89 Conclusion. On the Humanities "After Man"
• 122 Postscript
• 126 Notes
• 131 Bibliography
• 159 Index 175.
• (source: Nielsen Book Data)

In The Difference Aesthetics Makes cultural critic Kandice Chuh asks what the humanities might be and do if organized around what she calls "illiberal humanism" instead of around the Western European tradition of liberal humanism that undergirds the humanities in their received form. Recognizing that the liberal humanities contribute to the reproduction of the subjugation that accompanies liberalism's definition of the human, Chuh argues that instead of defending the humanities, as has been widely called for in recent years, we should radically remake them. Chuh proposes that the work of artists and writers like Lan Samantha Chang, Carrie Mae Weems, Langston Hughes, Leslie Marmon Silko, Allan deSouza, Monique Truong, and others brings to bear ways of being and knowing that delegitimize liberal humanism in favor of more robust, capacious, and worldly senses of the human and the humanities. Chuh presents the aesthetics of illiberal humanism as vital to the creation of sensibilities and worlds capable of making life and lives flourish.
(source: Nielsen Book Data)

• List of Figures
• Acknowledgements
• Abbreviations and a Note on Shakespeare
• Introduction
• The Purpose and Scope of this Book
• Navigating this Collection
• The Arrival of the Grotesque in England
• The Grotesque in English Visual Arts
• The Grotesque in English Theatricality
• The Vocabulary of the Grotesque
• Genres, Authors and Theories of the Grotesque
• Sources and Documents
• Chronological List of all Items in this Collection
• Bibliography
• Index.
• (source: Nielsen Book Data)

The Early Modern Grotesque: English Sources and Documents 1500-1700 offers readers a large and fully annotated collection of primary source texts addressing the grotesque in the English Renaissance. The sources are arranged chronologically in 120 numbered items with accompanying explanatory Notes. Each Note provides clarification of difficult terms in the source text, locating it in the context of early modern English and Continental discourses on the grotesque. The Notes also direct readers to further English sources and relevant modern scholarship. This volume includes a detailed introduction surveying the vocabulary, form and meaning of the grotesque from its arrival as a word, concept and aesthetic in 16th century England to its early maturity in the 18th century. The Introduction, Items and Notes, complemented by illustrations and a comprehensive bibliography, provide an unprecedented view of the evolving complexity and diversity of the early modern English grotesque. While giving due credit to Wolfgang Kayser and Mikhail Bakhtin as masters of grotesque theory, this ground-breaking book aims to provoke new, evidence-based approaches to understanding the specifically English grotesque. The textual archive from 1500-1700 is a rich and intriguing record that offers much to interested readers and researchers in the fields of literary studies, theatre studies and art history.
(source: Nielsen Book Data)

• Acknowledgments List of Figures Introduction: Aesthetic Imaginaries Emerging Lene Johannessen Part One: Image
• Chapter 1. The Aesthetic Imaginary and the Case of Ernie Gehr Asbjorn Gronstad
• Chapter 2. Panorama, Glitch, and Photospheres: Machine Vision and the Ghost in the Machine Scott Rettberg
• Chapter 3. Museum, Magic, Memory: A Curatorial Aesthetic Imaginary Julie Adams
• Chapter 4. Transcultural Literacy: Reading the "Other, " Shifting Aesthetic Imaginaries Jena Habegger-Conti
• Chapter 5. Tomas van Houtryve's Shadow Imaginaries Oyvind Va gnes Part Two: Text
• Chapter 6. "Syon Gostly": Crafting Aesthetic Imaginaries and Stylistics of Existence in Medieval Devotional Culture Laura Saeveit Miles
• Chapter 7. David Jones, The BBC and British Identities: Negotiating Social and Aesthetic Imaginaries Erik Tonning
• Chapter 8. Technology, Visual Perception and the Aesthetic Imaginary in The Poetry of Alan Gillis and Sine ad Morrissey Anne Karhio
• Chapter 9. Imagining Imaginaries in Julie Otsuka's The Buddha in The Attic Lene Johannessen
• Chapter 10. Convent and Convention: Imagining Birth-Mothers in Dermot Bolger's A Second Life John McLeod
• Chapter 11. The Textual Oddbody: Ripp(L)ing Aesthetic Imaginaries in Service of Justice- OR-Reader, Take Your Time Susan G. Cumings Afterword: "In the `Imaginary Garden' the `Toads' are Imaginary too: An Aesthetic of Desire, an Ethics of Precious" Mark Ledbetter Index About the Editors About the Contributors.
• (source: Nielsen Book Data)

Emerging Aesthetic Imaginaries considers aesthetic imaginaries as they constitute and are constituted by and in our shared realities. With contributions from twelve scholars working in the fields of literary studies, visual studies, anthropology, cultural studies, and digital culture, this book takes a multidisciplinary approach to "aesthetic imaginaries, " which tests the conceptual potential from an array of perspectives and methodologies. It probes into the continuous creation and re-creation of figures for the future that invariably nod to their pasts, whether with a spirit of respect, disgust, hope, or play. It is particularly in the intersections between ideas and formations of "shared realities" and what Ranjan Ghosh has called "entangled figurations" that the full and intricate promise of the aesthetic imaginary as analytic and conceptual prism comes into its own. As the chapters in this collection demonstrate, "knots" of various aesthetic imaginaries disseminate and manifest variously across place and time, to weave and interweave again, and to offer themselves in each instance as contours-so-far of cultural and aesthetic histories.
(source: Nielsen Book Data)