History and memory rank as central themes in the philosophy of Friedrich Nietzsche. As one of the last philosophers of the 19th century, Nietzsche naturally belongs to the so-called 'historical century'. The contentious exchange with the past and with antiquity - as much as the mechanisms, the dangers, and the lessons of memory and tradition - are continually examined and stand in close relationship with Nietzsche's vision of life and his project of human development. As Jacob Burckhardt once wrote of the cultural critique to his Basel colleague: "Fundamentally, you are always teaching history" (9/13/1882). Following Burckhardt's judgment, the contributors focus on the analysis of core questions in the philosophies of history and memory, and their respective convergence in the thought of Nietzsche. The epistemological relevance of these central concepts will be thematized alongside those concerning tradition, and education. The discussion of these rich themes unifies a broad spectrum of questions, ranging from cultural memory to contemporary philosophy of mind. The contributions are revised versions of selected papers presented at the 2018 conference of the annual meeting of the Nietzsche Society in Naumburg.

Of all the topics in the history of philosophy, the history of different forms of thinking and contemplation is one of the most important, and yet is also relatively overlooked. What is it to think philosophically? How did different forms of thinking-reflection, contemplation, critique and analysis-emerge in different epochs? This collection offers a rich and diverse philosophical exploration of the history of contemplation, from the classical period to the twenty-first century. It covers canonical figures including Plato, Aristotle, Descartes and Kant, as well as debates in less well-known areas such as classical Indian and Islamic thought and the role of speculation in twentieth-century Russian philosophy. Comprising twenty-two chapters by an international team of contributors, the volume is divided into five parts: * Flourishing and Thinking from Homer to Hume * The Thinking of Thinking from Augustine to Goedel * Images and Thinking from Plotinus to Unger * Bodies of Thought and Habits of Thinking from Plato to Irigaray * The Efficacy of Thinking from Sextus to Bataille Thought: A Philosophical History is the first comprehensive investigation of the history of philosophical thought and contemplation. As such, it is a landmark publication for anyone researching and teaching the history of philosophy, and a valuable resource for those studying the subject in related fields such as literature, religion, sociology and the history of ideas.

From the middle of the 1940s onwards, Sartre became the personification of the committed intellectual, courageously taking public positions on many of the pressing issues of his time. In the 1950s and 1960s, the theoretical basis for his political commitment lay in his existentialist brand of Marxism, which received its most mature formulation in the Critique of Dialectical Reason. Focusing on the point of departure for later Sartrean thought and political commitment, Sam Coombes highlights key areas of common ground between the ethical, aesthetic, and political content of works from Sartre's early period and classic Marxist philosophy. Taking account of both the specificity of early Sartrean thought and the heterogeneity of Marxist theories, this book affirms their lasting importance to radical left critique. It offers in-depth analysis of areas of early Sartrean thought hitherto rarely discussed in the literature such as the conceptual parallels between the concepts of inauthenticity and ideology, the political implications of Sartre's pre-war writings, and the first clear signs of Marxist tendencies in Sartre's wartime writings.

This is an innovative, scholarly and original study of the ethics of modern Japanese aesthetics from the 1930s, through the Second World War and into the post-war period. Nina Cornyetz embarks on new and unprecedented readings of some of the most significant literary and film texts of the Japanese canon, for instance works by Kawabata Yasunari, Mishima Yukio, Abe K b and Shinoda Masahiro, all renowned for their texts' aesthetic and philosophic brilliance.

Cornyetz uniquely opens up the field in a fresh and controversial way by showing how these authors and filmmakers' concepts of beauty and relation to others were, in fact, deeply impacted by political and social factors. Probing questions are asked such as:

• How did Japanese fascism and imperialism ideologically, politically and aesthetically impact on these literary/cinematic giants?
• How did the emperor as the 'nodal point' for Japanese national identity affect their ethics?
• What were the repercussions of the virtual collapse of the Marxist movement in the 1960s?
• What are the similarities and differences between pre-war, wartime and post-war ideals of beauty and those of fascist aesthetics in general?

This ground-breaking work is truly interdisciplinary and will appeal to students and scholars of Japanese literature, film, gender, culture, history and even psychoanalytic theory.

What is virtuosity? Is it an innate gift or can it be taught? How does it manifest in music, dance, or drama, and by what criteria? What does it take to become a virtuoso/a; what are the odds of success? And ultimately, at what price? Examining the concept of virtuosity in multiple perspectives, this book helps to answer those questions and many more. V. A. Howard traces virtuosity from its historical roots to philosophical and psychological learning theory to the rigours of professional training and shows how high level performers are made, marketed, and sold by those who broker talent as a commodity. Critics and theorists will find this book comprehensive and illuminating. And for that vast group of budding aspirants (and their mentors) who desire to -make it, to figure out where they are going, how far and why, the insights contained herein are key to survival. No dance or drama studio, regional theatre, music school, or conservatory can afford to ignore this hard look at the realities of classical performance art and training. For those whose vocation is performance, this is required reading."

This work offers a new perspective on the study of the sources of S. T. Coleridge's poetics. The author argues that the philosophical system endorsed by the Cambridge Platonist Ralph Cudworth significantly contributed to the genesis of Coleridge's concept of the symbol and its related symbolic knowledge. After an initial view on the different articulations the symbol acquired in Coleridge's theorizations over his career, the book reverts to the poet's formative years from 1795 to 1798, in order to reveal the roots of the concept. Apart from discussing Coleridge's direct readings of Cudworth's The True Intellectual System of the Universe in the years 1795 and 1796, the author explores the reception of Cudworth's ideas in a number of philosophers', scientists', poets' and literary theorists' works of the late seventeenth and eighteenth centuries which were, in turn, read by the Romantic author. The study also provides new insights into Coleridge's lectures and poems in which the Coleridgean notion of symbol was born: Lectures on Revealed Religion, «The Destiny of Nations, «Religious Musings and the Conversation Poems in the light of Cudworth's philosophical tenets.

The book was published in Polish language in edition of the Foundation for Polish Science (Wrocław University Press, Wrocław 2003) and awarded by the Polish Ministry of National Education (2004). Musical Work Analysis is a holistic approach to the cognitive theory of the musical work. The book develops some of Roman Ingarden's concepts on the epistemology of an actually existing work of music. The author outlines an epistemological theory of the musical work by discussing the role of musical analysis in modern musicology, defining sources and objects of epistemological activity, formulating a systematization of analytical terms, issues and methods, both normative and descriptive, and addressing the relation between analysis and interpretation of a musical work.

Kenosis Creativity Architecture locates and explores creativity's grounding in the ancient concept of kenosis, the "emptying" that allows creativity to happen; that makes appearance possible. It concretises that grounding through architecture-a primal expression of human creativity-critically examining, for the first time, kenotic instantiations evidenced in four iconic, international projects; works by Kahn, Pei, Ando, and Libeskind. Then, in a final turn, the potentiality of architecture's own emptying is probed. Architect and author Randall Lindstrom draws on Western and Eastern philosophy, including that of Heidegger, Levinas, Derrida, Vattimo, Nishida, and Nishitani, as well as on the theology of Christianity, Judaism, and aspects of Buddhism, Hinduism, and Islam. Every chapter expands the argument that, if responsiveness to our world is taken seriously-if proper and sustainable responses are to be realised-then a deeper understanding of creativity, and so kenosis, is essential. This book opens-up a way of thinking about creativity and humanity's readiness to be creative. It thereby presents a crucial enquiry-at the nexus of architecture, philosophy, and theology-for researchers, graduate and postgraduate students, and practitioners alike.

This book examines how contemporary artists have engaged with histories of nature, geology, and extinction within the context of the changing planet. Susan Ballard describes how artists challenge the categories of animal, mineral, and vegetable-turning to a multispecies order of relations that opens up a new vision of what it means to live within the Anthropocene. Considering the work of a broad range of artists including Francisco de Goya, J. M. W. Turner, Robert Smithson, Nancy Holt, Yhonnie Scarce, Joyce Campbell, Lisa Reihana, Katie Paterson, Taryn Simon, Susan Norrie, Moon Kyungwon and Jeon Joonho, Ken + Julia Yonetani, David Haines and Joyce Hinterding, Angela Tiatia, and Hito Steyerl and with a particular focus on artists from Australia and Aotearoa New Zealand, this book reveals the emergence of a planetary aesthetics that challenges fixed concepts of nature in the Anthropocene. The book will be of interest to scholars working in art history, visual culture, narrative nonfiction, digital and media art, and the environmental humanities.

In this volume, a team of internationally respected contributors theorize the concept of aesthetic experience and its value. Exposing and expanding our restricted cultural and intellectual presuppositions of what constitutes aesthetic experience, the book aims to re-explore and affirm the place of aesthetic experience - in its evaluative, phenomenological and transformational sense - not only in relation to art and artists but to our inner and spiritual lives. To this end, the authors attempt to show how we can learn from the wisdom of Buddhist and Asian philosophies.

Thinking on Screen: Film as Philosophy is an accessible and thought-provoking examination of the way films raise and explore complex philosophical ideas. Written in a clear and engaging style, Thomas Wartenberg examines films' ability to discuss, and even criticize ideas that have intrigued and puzzled philosophers over the centuries such as the nature of personhood, the basis of morality, and epistemological skepticism. Beginning with a demonstration of how specific forms of philosophical discourse are presented cinematically, Wartenberg moves on to offer a systematic account of the ways in which specific films undertake the task of philosophy. Focusing on the films The Man Who Shot Liberty Valance, Modern Times, The Matrix, Eternal Sunshine of the Spotless Mind, The Third Man, The Flicker, and Empire, Wartenberg shows how these films express meaningful and pertinent philosophical ideas. This book is essential reading for students of philosophy with an interest in film, aesthetics, and film theory. It will also be of interest to film enthusiasts intrigued by the philosophical implications of film.

This book argues that an attentive encounter with nature is of key importance for the development of an environmentally appropriate culture. The fundamental idea is that the environmental degradation that we are increasingly experiencing is best conceived as the consequence of a cultural mismatch: our cultures seem not to be appropriate to the natural environment in which we move and on which we depend in thoroughgoing ways. In addressing this problem, Thomas Heyd weaves together a rich tapestry of perspectives on human interactions with the natural world, ranging from traditional modes of managing human communities that include the natural environment, to the consideration of poetic travelogues, ecological restoration and botanic gardens. The volume is divided into three parts, which respectively consider the relation of human beings to nature in terms of ethics, aesthetics and culture. It engages the current literature in each of these areas with the help of inter-disciplinary approaches, as well as on the basis of personal encounters with natural spaces and processes. The ultimate aim of this book is to make a contribution to the development of a cultural fabric that is suitable to the natural spaces and processes in which we may thrive, and on which we all depend as individuals and as a species.

What does it mean to be visually literate? Does it mean different things in the arts and the sciences? In the West, in Asia, or in developing nations? If we all need to become "visually literate," what does that mean in practical terms? The essays gathered here examine a host of issues surrounding "the visual," exploring national and regional ideas of visuality and charting out new territories of visual literacy that lie far beyond art history, such as law and chemistry. With an afterword by Christopher Crouch, this groundbreaking collection brings together the work of major art and visual studies scholars and critics to explore what impact the new concept of "visual literacy" will have on the traditional field of art history.

Contributors: Matthias Bruhn, Vera DA1/4nkel, Jonathan Crary, Christopher Crouch, Peter Dallow, James Elkins, Henrik Enquist, W.J.T. Mitchell, Richard K. Sherwin, Susan Shifrin, Jon Simons, Barbara Maria Stafford, William Washabaugh

In this highly ambitious, wide ranging, immensely impressive and ground-breaking work Fabian Dorsch surveys just about every account of the imagination that has ever been proposed. He identifies five central types of imagining that any unifying theory must accommodate and sets himself the task of determining whether any theory of what imagining consists in covers these five paradigms. Focussing on what he takes to be the three main theories, and giving them each equal consideration, he faults the first two and embraces the third. The scholarship is immaculate, the writing crystal clear and the argumentation always powerful. Malcolm Budd, FBA, Emeritus Grote Professor of the Philosophy of Mind and Logic, University College London Excerpt Open publication

Christine Battersby is a leading thinker in the field of philosophy, gender studies and visual and literary aesthetics. In this important new work, she undertakes an exploration of the nature of the sublime, one of the most important topics in contemporary debates about modernity, politics and art.

Through a compelling examination of terror, transcendence and the 'other' in key European philosophers and writers, Battersby articulates a radical 'female sublime'. A central feature of The Sublime, Terror and Human Difference is its engagement with recent debates around '9/11', race and Islam. Battersby shows how, since the eighteenth century, the pleasures of the sublime have been described in terms of the transcendence of terror. Linked to the 'feminine', the sublime was closed off to flesh-and-blood women, to 'Orientals' and to other supposedly 'inferior' human types. Engaging with Kant, Burke, the German Romantics, Nietzsche, Derrida, Lyotard, Irigarayand Arendt, as well as with women writers and artists, Battersby traces the history of these exclusions, while finding resources within the history of western culture for thinking human differences afresh

The Sublime, Terror and Human Difference is essential reading for students of continental philosophy, gender studies, aesthetics, literary theory, visual culture, and race and social theory.

Christine Battersby is a leading thinker in the field of philosophy, gender studies and visual and literary aesthetics. In this important new work, she undertakes an exploration of the nature of the sublime, one of the most important topics in contemporary debates about modernity, politics and art.

Through a compelling examination of terror, transcendence and the 'other' in key European philosophers and writers, Battersby articulates a radical 'female sublime'. A central feature of The Sublime, Terror and Human Difference is its engagement with recent debates around '9/11', race and Islam. Battersby shows how, since the eighteenth century, the pleasures of the sublime have been described in terms of the transcendence of terror. Linked to the 'feminine', the sublime was closed off to flesh-and-blood women, to 'Orientals' and to other supposedly 'inferior' human types. Engaging with Kant, Burke, the German Romantics, Nietzsche, Derrida, Lyotard, Irigarayand Arendt, as well as with women writers and artists, Battersby traces the history of these exclusions, while finding resources within the history of western culture for thinking human differences afresh

The Sublime, Terror and Human Difference is essential reading for students of continental philosophy, gender studies, aesthetics, literary theory, visual culture, and race and social theory.

Many artists and scientists - including Buffon, Goethe, and Philipp Otto Runge - who observed the vividly coloured shadows that appear outdoors around dawn and dusk, or indoors when a candle burns under waning daylight, chose to describe their colours as 'beautiful'. Paul Smith explains what makes these ephemeral effects worthy of such appreciation - or how depictions of coloured shadows have genuine aesthetic and epistemological significance. This multidisciplinary book synthesises methodologies drawn from art history (close pictorial analysis), psychology and neuroscience (theories of colour constancy), history of science (the changing paradigms used to explain coloured shadows), and philosophy (theories of perception and aesthetic value drawn from Wittgenstein and Merleau-Ponty). This title will be of interest to scholars in art history, art theory, and the history of science and technology.

This collection of essays, by a number of established scholars and artists, proposes new directions for Marxist cultural theory and the criticism of modern visual culture. It addresses a diverse range of topics, including the state and revolution, Communist and post-Communist aesthetics, Situationist thought and the avant-garde, subjectivity and commodification, and the politics and problems of contemporary artistic practice. The contributions also consider several other pressing questions in the visual arts, from the practice of digital culture to appropriations of critical theory, from the relations of art and the spectacle to architecture in the age of global modernity. This book on Marxism and art is not offered in a spirit of nostalgia: on the contrary, it testifies to the continuing vitality and confidence of historical materialist thought in the field of cultural theory and practice in the 21st century.

Provocative essays on language, literature, and the aesthetics of embodiment.

Addressing the essential question of the relationship between ethics and aesthetics in Deleuze's philosophy this book provides clear indications of the practical implications of Deleuze's approach to the arts through detailed analyses of the ethical dimension of artistic activity in literature, music, and film. Bogue examines Deleuze's "transverse way" of interrelating the ethical and the aesthetic, the transverse way being both a mode of thought and a practice of living. Among the issues examined are those of the relationship of music to literature, the political vocation of the arts, violence in popular music, the ethics and aesthetics of education, the use of music and sound in film, the role of the visual in literary invention, the function of the arts in cross cultural interactions, and the future of Deleuzian analysis as a means of forming an open, reciprocally self-constituting, transcultural global culture.

The essays in this anthology are versions of papers originally presented at the 'Friedrich Nietzsche and Ethics' Conference conveyed by the Nietzsche Society in 2004 at the University of Sussex, Brighton, UK. Contributors are respected Nietzsche scholars from around the globe and their essays cover the full range of Nietzsche's moral thinking. They include papers on evolution and development, eudaemonia, art and morality, agon and transvaluation, will to power, as well as free will and genuine selfhood, immoralism, equality, sexual ethics, and the value of pity and compassion. These topics reflect the continuing and ever increasing interest in and relevance of Nietzsche's moral thinking and confirm Nietzsche's status as a moral philosopher of great importance.

The #metoo movement has forced many fans to consider what they should do when they learn that a beloved artist has acted immorally. One natural thought is that fans ought to give up the artworks of immoral artists. In Why It's OK to Enjoy the Work of Immoral Artists, Mary Beth Willard argues for a more nuanced view. Enjoying art is part of a well-lived life, so we need good reasons to give it up. And it turns out good reasons are hard to find. Willard shows that it's reasonable to believe that most boycotts of artists won't succeed, so most of the time there's no ethical reason to join in. Someone who manages to separate the art from the artist isn't making an ethical mistake by buying and enjoying their art. She then considers the ethical dimensions of canceling artists and the so-called "cancel culture," arguing that canceling is ethically risky because it encourages moral grandstanding. Willard concludes by arguing that the popular debate has overlooked the power of art to change our lives for the good. It's of course OK to decide to give up the artwork of immoral artists, but - as Willard shows in this provocative little volume - it's OK to continue to enjoy their art as well. Key Features Offers accessible discussions of complicated philosophical topics like aesthetic value, collective action problems, and epistemic justice Provides a unique perspective and underexplored argument on the popular issue of cancellation Explores the role of aesthetic value in our lives, including its relation to our ethical decisions and our well being

Shiny Things combines an interest in visual art with a broad attention to popular culture - the wideness of its range is striking. It is more than just an expansion of subject matter, which many of today's innovative books also have - it considers how a specific physical property manifests itself in both art and culture at large, and contributes to an analysis of and polemics about the world. It is accessibly written but with a careful application of contemporary theory. Interesting, informative, and entertaining, this will appeal to progressive thinkers looking for new ways of presenting ideas. This is scholarship that challenges stale thought and interacts with philosophical ideas in real time, with a versatility that can often be lacking in traditional academic scholarship. Using art, especially contemporary art, as its recurrent point of reference, the authors argue that shininess has moved from a time when rarity gave shiny things a direct meaning of power and transcendence. Shininess today is pervasive; its attraction is a foundation of consumer culture with its attendant effects on our architecture, our conceptions of the body, and our production of spectacle. Power and the sacred as readings of the shiny have given way to readings of superficiality, irony and anxiety, while somehow shininess has maintained its qualities of fascination, newness and cleanliness. Examines the meanings and functions of shininess in art and in culture more generally: its contradictions of both preciousness and superficiality, and its complexities of representation; the way shininess itself is physically and metaphorically present in the construction of major conceptual categories such as hygiene, utopias, the sublime and camp; and the way the affects of shininess, rooted in its inherent disorienting excess, produce irony, anxiety, pleasure, kitsch, and fetishism. All of these large ideas are embodied in the instantly noticeable, sometimes precious and sometimes cheap physical presence of shiny things, those things that catch our eye and divert our attention. Shininess, then, is a compelling subject that instantly attracts and fascinates people. The book engages primarily with visual art, although it makes frequent use of material culture, as well as advertising, film, literature, and other areas of popular and political culture. The art world, however, is a place where many of the affects of shininess come into clearest focus, where the polemical semiotics of shine are most evident and consciously explored. Artists as diverse as Anish Kapoor (whose popular Cloud Gate sculpture in Chicago is a repeating example in the book), Olafur Eliasson, Jeff Koons, Carolee Schneemann, Audrey Flack, Fra Angelico and Gerard ter Borch centre the book in an art discourse that opens up to automobiles, Richard Nixon and Liberace. Will be relevant to academics, scholars and students with an interest in contemporary theory and material and popular cultures. Potential interest across the humanities: philosophy, gender studies, perhaps public relations, advertising and marketing. It will also appeal to more general readers with an interest in popular and material cultures, art and aesthetics. It is written in a genuinely accessible style, and its ideas and theory are embodied through examples and narratives. Will be of interest to readers of Oliver Sacks, James Gleick, George Lakoff, James Elkins or Rebecca Solnit.

An invitation to readers from every walk of life to rediscover the impractical splendors of a life of learning In an overloaded, superficial, technological world, in which almost everything and everybody is judged by its usefulness, where can we turn for escape, lasting pleasure, contemplation, or connection to others? While many forms of leisure meet these needs, Zena Hitz writes, few experiences are so fulfilling as the inner life, whether that of a bookworm, an amateur astronomer, a birdwatcher, or someone who takes a deep interest in one of countless other subjects. Drawing on inspiring examples, from Socrates and Augustine to Malcolm X and Elena Ferrante, and from films to Hitz's own experiences as someone who walked away from elite university life in search of greater fulfillment, Lost in Thought is a passionate and timely reminder that a rich life is a life rich in thought. Today, when even the humanities are often defended only for their economic or political usefulness, Hitz says our intellectual lives are valuable not despite but because of their practical uselessness. And while anyone can have an intellectual life, she encourages academics in particular to get back in touch with the desire to learn for its own sake, and calls on universities to return to the person-to-person transmission of the habits of mind and heart that bring out the best in us. Reminding us of who we once were and who we might become, Lost in Thought is a moving account of why renewing our inner lives is fundamental to preserving our humanity.