Foucault's intellectual indebtedness to Nietzsche is apparent in his writing, yet the precise nature, extent, and nuances of that debt are seldom explored. Foucault himself seems sometimes to claim that his approach is essentially Nietzschean, and sometimes to insist that he amounts to a radical break with Nietzsche. This volume is the first of its kind, presenting the relationship between these two thinkers on elements of contemporary culture that they shared interests in, including the nature of life in the modern world, philosophy as a way of life, and the ways in which we ought to read and write about other philosophers. The contributing authors are leading figures in Foucault and Nietzsche studies, and their contributions reflect the diversity of approaches possible in coming to terms with the Foucault-Nietzsche relationship. Specific points of comparison include Foucault and Nietzsche's differing understandings of the Death of God; art and aesthetics; power; writing and authorship; politics and society; the history of ideas; genealogy and archaeology; and the evolution of knowledge.

Minai develops the idea that an aesthetic value is not necessarily an objective value reasoned by rationality. Beauty is a matter of chance and necessity in the nature of things, a matter of the order of things and the circumstances of their interconnections, or predictable and unpredictable forces. To know such a complex system we need to establish a view of phenomenology and hermeneutics, a world view where bad and good and ugly and beautiful are part of a continuum of changes and differences. In that world view, it is essential to have an understanding of mind, nature, and the epistemology of knowing.

The relationship between film and philosophy has become a topic of intense intellectual interest. But how should we understand this relationship? Can philosophy renew our understanding of film? Can film challenge or even transform how we understand philosophy? New Philosophies of Film explores these questions in relation to both analytic and Continental philosophies of film, arguing that the best way to overcome their mutual antagonism is by constructing a more pluralist film-philosophy grounded in detailed engagement with particular films. Sinnerbrink not only provides lucid critical analyses of the exciting developments and contentious debates in the new philosophies of film, but also showcases how a pluralist film-philosophy works in the case of three challenging contemporary filmmakers: David Lynch, Lars von Trier, and Terrence Malick. New Philosophies of Film thus puts interdisciplinary film -philosophy into practice, and should be of great interest to students and researchers working across the disciplines of philosophy, film studies, and cultural studies.

This book presents a solution to the problem known in philosophical aesthetics as the paradox of ugliness, namely, how an object that is displeasing can retain our attention and be greatly appreciated. It does this by exploring and refining the most sophisticated and thoroughly worked out theoretical framework of philosophical aesthetics, Kant's theory of taste, which was put forward in part one of the Critique of the Power of Judgment. The book explores the possibility of incorporating ugliness, a negative aesthetic concept, into the overall Kantian aesthetic picture. It addresses a debate of the last two decades over whether Kant's aesthetics should allow for a pure aesthetic judgment of ugliness. The book critically reviews the main interpretations of Kant's central notion of the free play of imagination and understanding and offers a new interpretation of free play, one that allows for the possibility of a disharmonious state of mind and ugliness. In addition, the book also applies an interpretation of ugliness in Kant's aesthetics to resolve certain issues that have been raised in contemporary aesthetics, namely the possibility of appreciating artistic and natural ugliness and the role of disgust in artistic representation. Offering a theoretical and practical analysis of different kinds of negative aesthetic experiences, this book will help readers acquire a better understanding of his or her own evaluative processes, which may be helpful in coping with complex aesthetic experiences. Readers will gain unique insight into how ugliness can be offensive, yet, at the same time, fascinating, interesting and captivating.

This is a comprehensive, integrated account of eighteenth and early nineteenth century German figurative aesthetics. The author focuses on the theologically-minded discourse on the visual arts that unfolded in Germany, circa 1754-1828, to critique the assumption that German romanticism and idealism pursued a formalist worship of beauty and of unbridled artistic autonomy. This book foregrounds what the author terms an "Aesthetics of Figurative Theo humanism". It begins with the sculptural aesthetics of Johann Joachim Winckelmann and Gottfried Herder before moving on to Karl Philipp Moritz, Wilhelm Heinrich Wackenroder and Friedrich Schelling. The reader will discover how this aesthetic tradition, after an initial obsession with classical sculpture, chose painting as the medium more suited to the modern self's exploration of transcendence. This paradigm-shift is traced in the aesthetic discourse of Friedrich Schlegel and Georg Wilhelm Friedrich Hegel. In this work, the widespread prejudice that such aesthetics initiated a so-called "Modern Grand Narrative of the Arts" is deconstructed. One accusation directed at 18th century aesthetics has been that it realised into "Art" what had previously been a living, rich tissue of meaning: this work shows how Figurative Theo humanism's attention to aesthetic values was never detached from deeper theological and humanistic considerations. Furthermore, it argues that this aesthetic discourse never forgot that it emerged from modern disenchantment-far from occluding the dimension of secularization, it draws poignant meaning from it. Anyone with an interest in the current debates about the scope and nature of aesthetics(philosophers of art, theology, or religion) will find this book of great interest and assistance.

Examining select high points in the speculative tradition from Plato and Aristotle through the Middle Ages and German tradition to Dewey and Heidegger, Placing Aesthetics seeks to locate the aesthetic concern within the larger framework of each thinker's philosophy. In Professor Robert Wood's study, aesthetics is not peripheral but rather central to the speculative tradition and to human existence as such. In Dewey's terms, aesthetics is \u201cexperience in its integrity.\u201d Its personal ground is in \u201cthe heart,\u201d which is the dispositional ground formed by genetic, cultural , and personal historical factors by which we are spontaneously moved and, in turn, are inclined to move, both practically and theoretically, in certain directions. Prepared for use by the student as well as the philosopher, Placing Aesthetics aims to recover the fullness of humanness within a sense of the fullness of encompassing Being. It attempts to overcome the splitting of thought, even in philosophy, into exclusive specializations and the fracturing of life itself into theoretical, practical, and emotive dimensions.

This book investigates the scope and significance of Stanley Cavell's lifelong and lasting contribution to aesthetic understanding. Focusing on various strands of the rich body of Cavell's philosophical work, the authors explore connections between his wide-ranging writings on literature, music, film, opera, autobiography, Wittgenstein, and Austin to contemporary currents in aesthetic thinking. Most centrally, the writings brought together here from an international team of senior, mid-career, and emerging scholars, explore the illuminating power of Cavell's work for our deeper and richer comprehension of the intricate relations between aesthetic and ethical understanding. The chapters show what aesthetic understanding consists of, how such understanding might be articulated in the tradition of Cavell following Wittgenstein and J. L. Austin, and why this mode of human understanding is particularly important. At a time of quickening interest in Cavell and the tradition of which he is a central part and present-day leading exponent, this book offers insight into the deepest contributions of a major American philosopher and the profound role that aesthetic experience can play in the humane understanding of persons, society, and culture.

The essays in this book respond to Anna-Teresa Tymieniecka's recent call to explore the relationship between the evolution of the universe and the process of self-individuation in the ontopoietic unfolding of life. The essays approach the sensory manifold in a number of ways. They show that theories of modern science become a strategy for the phenomenological study of works of art, and vice versa. Works of phenomenology and of the arts examine how individual spontaneity connects with the design(s) of the logos - of the whole and of the particulars - while the design(s) rest not on some human concept, but on life itself. Life's pliable matrices allow us to consider the expansiveness of contemporary science, and to help create a contemporary phenomenological sense of cosmos.

Offering an original contribution to the field of luxury and fashion studies, this edited collection takes a philosophical perspective, addressing the idea that humans need luxury. From this framework it delves deep into two particular dimensions of luxury, emotions and society, and concludes with cases of brand building in order to illustrate the two dimensions at work. Comparative analysis between countries is brought together with an emphasis on China. Chapters address the ongoing growth in the market, as well as the significant changes in the sector brought about by fast international expansion and an increased focus on ethical supply and sustainability, making the book an insightful read for scholars of fashion business, luxury and branding.

In this thesis, the author makes several contributions to the study of design of graphical materials. The thesis begins with a review of the relationship between design and aesthetics, and the use of mathematical models to capture this relationship. Then, a novel method for linking linguistic concepts to colors using the Latent Dirichlet Allocation Dual Topic Model is proposed. Next, the thesis studies the relationship between aesthetics and spatial layout by formalizing the notion of visual balance. Applying principles of salience and Gaussian mixture models over a body of about 120,000 aesthetically rated professional photographs, the author provides confirmation of Arnhem's theory about spatial layout. The thesis concludes with a description of tools to support automatically generating personalized design.

As far as we know, only human beings have a sense of humour - although chimps might laugh when tickled, and dogs respond similarly in play, Seth McFarlane's fan-base is comprised exclusively of humans. Whilst animals and robots might feature as prominent characters in our favourite comic movies, shows and stand-up routines, we have no reason to suspect that their real-life brethren get the joke. Drawing on the philosophy of Martin Heidegger, Shaun May attempts to address this issue - suggesting that there is something distinctive about human beings which grounds our ability to make and comprehend jokes. Guiding the reader through a range of examples, including the films of Charlie Chaplin, the stand-up of Francesca Martinez, the TV show Family Guy and Samuel Beckett's Endgame, he demonstrates that in order to get the joke you have to 'be there'.

This edited volume explores the intersections of the human, nonhuman, transhuman, and posthuman from a phenomenological perspective. Representing perspectives from several disciplines, these investigations take a closer look at the relationship between the phenomenology of life, creative ontopoiesis, and otherness; technology and the human; art and the question of humanity; nonhumans, animals, and intentionality; and transhumanism. Ontological positioning of the human is reconsidered with regard to the nonhuman, transhuman, and posthuman within the cosmos. Further examination of the artificial and object in the lifeworld is also explored. This volume also pays tribute to Anna-Teresa Tymieniecka and her methodical contributions to phenomenology. This text appeals to students and researchers of phenomenology worldwide.

Bernard Stiegler's work on the intimate relations between the human and the technical have made him one of the most important voices to have emerged in French philosophy in the last decade. At the same time both an accessible summation of that work and a continuation of it, "The Re-Enchantment of the World" advances a critique of consumer capitalism that draws on Freud and Marx to construct an utterly contemporary analysis of our time. The book explores the cognitive, affective, social and economic effects of the 'proletarianization' of the consumer in late capitalism and the resulting destruction of the consumer's "savoir-vivre. "Reflecting the collective work of his activist organisation, "Ars Industrialis," Stiegler here sets forth an alternative path to that of 'industrial populism', one that appeals to the force of the human spirit."The Re-Enchantment of the World" also includes the manifesto of "Ars Industrialis" and an account of the organisation's 2005 summit in Tunis.

This book examines the works of major artists between the seventeenth and nineteenth centuries, as important barometers of individual and collective values toward non-human life. Once viewed as merely representational, these works can also be read as tangential or morally instrumental by way of formal analysis and critical theories. Chapter Two demonstrates the discrimination toward large and small felines in Genesis and The Book of Revelation. Chapter Three explores the cruel capture of free roaming animals and how artists depicted their furs, feathers and shells in costume as symbols of virtue and vice. Chapter Four identifies speciest beliefs between donkeys and horses. Chapter Five explores the altered Dutch kitchen spaces and disguised food animals in various culinary constructs in still life painting. Chapter Six explores the animal substances embedded in pigments. Chapter Seven examines animals in absentia-in the crafting of brushes. The book concludes with the fish paintings of William Merritt Chase whose glazing techniques demonstrate an artistic approach that honors fishes as sentient beings.

This book investigates the nature of aesthetic experience and aesthetic objects. Written by leading philosophers, psychologists, literary scholars and semioticians, the book addresses two intertwined issues. The first is related to the phenomenology of aesthetic experience: The understanding of how human beings respond to artworks, how we process linguistic or visual information, and what properties in artworks trigger aesthetic experiences. The examination of the properties of aesthetic experience reveals essential aspects of our perceptual, cognitive, and semiotic capacities. The second issue studied in this volume is related to the ontology of the work of art: Written or visual artworks are a specific type of objects, containing particular kinds of representation which elicit a particular kind of experience. The research question explored is: What properties in artful objects trigger this type of experience, and what characterizes representation in written and visual artworks? The volume sets the scene for state-of-the-art inquiries in the intersection between the psychology and ontology of art. The investigations of the relation between the properties of artworks and the characteristics of aesthetic experience increase our insight into what art is. In addition, they shed light on essential properties of human meaning-making in general.

This book examines the contribution of mass-produced original painting to the psychology of art, psychological aesthetics, and art criticism. Mass-produced paintings are an inexpensive, accessible, ubiquitous, and hand-painted popular art by anonymous artists or teams. Sold in an array of outlets, ranging from flea markets to shopping centers to cruise ships, they decorate hotels, offices, and homes. Addressed is their neglect in current scholarship in favor of a nearly exclusive investigation of the high arts and their audiences, as represented by museum paintings. Lindauer contextualizes his analysis by tracing the historical origins of this type of painting, popular art in general, and their evolutionary trajectory, exploring issues including: the impact of art and artists' creativity on viewers; the overemphasis on originality and name recognition; what is art and who can be called an artist; and the extension of aesthetics to include an everyday kind. The book concludes with directions for future research in the popular and traditional arts, the psychology of art, and, more broadly, the ties that transcend barriers between science, the arts, and the humanities. It will appeal to students and scholars from across the fields of psychology, sociology, philosophy, art history, and cultural, media and communication studies.

This book analyzes the relationship between art and politics in two contrasting modern dictatorships. Through a detailed look at the Chilean and Romanian dictatorships, it compares the different ways in which political regimes convey their view of the world through artistic means. It examines how artists help \ convey a new understanding of politics and political action during repressive regimes that are inspired by either communism or anti-communism (neoliberalism, traditionalist, conservative). This book demonstrates how artistic renderings of life during dictatorships are similar in more than one respect, and how art can help better grasp the similarities of these regimes. It reveals how dictatorships use art to symbolically construct their power, which artists can consolidate by lending their support, or deconstruct through different forms of artistic resistance.

Collected here in this omnibus edition are Immanuel Kant's three most important works on the Metaphysics of Morals and Ethics. Included are Kant: Groundwork of the Metaphysics of Morals, Introduction to the Metaphysic of Morals, and The Metaphysical Elements of Ethics. Kant's Fundamental Principles of the Metaphysics of Morals is one of the most important works in modern moral philosophy. It belongs beside Plato, Aristotle, Machiavelli, and Hobbes. Here Kant sets out to articulate and defend the Categorical Imperative - the fundamental principle that underlies moral reasoning - and to lay the foundation for a comprehensive account of justice and human virtues. In Introduction to the Metaphysic of Morals Kant states: "All duties are either duties of right, that is, juridical duties, or duties of virtue, that is, ethical duties. Juridical duties are such as may be promulgated by external legislation; ethical duties are those for which such legislation is not possible." In The Metaphysical Elements of Ethics states: "If there exists on any subject a philosophy (that is, a system of rational knowledge based on concepts), then there must also be for this philosophy a system of pure rational concepts, independent of any condition of intuition, in other words, a metaphysic. It may be asked whether metaphysical elements are required also for every practical philosophy, which is the doctrine of duties, and therefore also for Ethics."

This book compares two major leisure activities - watching sport and engaging with art. It explores a range of philosophical questions that arise when sport and art are placed side by side: The works of Shakespeare, Rembrandt and Mozart have continued to fill playhouses, galleries and concert halls for centuries since they were created, while our interest in even the most epic sporting contests fades after just a few years, or even a single season. What explains this difference? Sporting contests are merely games. So why do sports fans attach such great importance to whether their team wins or loses? Do sporting contests have meaning in the way works of art do? Beauty is a central value in art. Is it important in sport? What role does morality play in sport and art? What value do sport and art contribute to the world and to the meaning of people's lives?

This text provides coverage of the history of the Japanese philosophy of art, from its inception in the 1870s to modern day. In addition to the historical information and discussion of aesthetic issues that appear in the introductions to each of the chapters, the book presents English translations of otherwise inaccessible major works on Japanese aesthetics, beginning with a complete and annotated translation of the first work in the field, Nishi Amane's ""Bimyogaku Setsu"" (""The Theory of Aesthetics""). The text is divided into four sections: the subject of aesthetics; aesthetic categories; poetic expression; postmodernism; and aesthetics. It examines the momentous efforts made by Japanese thinkers to master, assimilate and originally transform Western philosophical systems to discuss their own literary and artistic heritage.

This handbook brings together the most current and hotly debated topics in studies about images today. In the first part, the book gives readers an historical overview and basic diacronical explanation of the term image, including the ways it has been used in different periods throughout history. In the second part, the fundamental concepts that have to be mastered should one wish to enter into the emerging field of Image Studies are explained. In the third part, readers will find analysis of the most common subjects and topics pertaining to images. In the fourth part, the book explains how existing disciplines relate to Image Studies and how this new scholarly field may be constructed using both old and new approaches and insights. The fifth chapter is dedicated to contemporary thinkers and is the first time that theses of the most prominent scholars of Image Studies are critically analyzed and presented in one place.

Emotional Ethics of The Hunger Games expands the 'ethical turn' in Film Studies by analysing emotions as a source of ethical knowledge in The Hunger Games films. It argues that emotions, incorporated in the thematic and aesthetic organization of these films, reflect a crisis in moral standards. As such they cultivate ethical attitudes towards such phenomena as totalitarianism, the culture of reality television, and the society of spectacle. The focus of the argument is on cinematic aesthetics, which expresses emotions in a way that highlights their ethical significance, running the gamut from fear through guilt and shame, to love, anger and contempt. The central claim of the book is that these emotions are symptomatic of some moral conflict, which renders The Hunger Games franchise a meaningful commentary on the affective practice of cinematic ethics. ''The Hunger Games movies have become iconic symbols for resistance across the globe. Tarja Laine proposes that this is not caused by their status as exciting cinematic spectacles, but by their engaging our emotions. Laine uses The Hunger Games as key texts for understanding our world, demonstrating that ethics do not originate from rational considerations, far removed from those mucky things called emotions. But rather that emotions are at the core of cinematic ethics." -William Brown, Author of Supercinema: Film-Philosophy for the Digital Age ''In this elegantly written exploration of the relationship between aesthetics and emotion in The Hunger Gamestrilogy, Tarja Laine illuminates the power of film to embody ethical conflict. Deftly interweaving film-philosophy and close analysis, Laine traces how these films mobilise complex emotions, nuancing our thinking about cinema and the spectator. Laine's book takes The Hunger Games films seriously, demonstrating with verve why they matter." -Catherine Wheatley, Senior Lecturer in Film Studies, King's College London, UK ''In this fresh, engaging, and insightful study of The Hunger Games film trilogy, Tarja Laine explores the crucial role that emotions play in appreciation of the ethical qualities of the movies. She forges productive dialogues between a range of film theory, scholarship on moral philosophy, and debates on ethics, as she performs a multi-layered investigation of the aesthetic qualities of the trilogy, the multiple emotions embodied in these qualities, and the philosophical-ethical insights that are in turn embedded in these emotions. The cinematic connection between emotions and ethics that emerges through Laine's detailed textual analyses confronts us with complex moral dilemmas while enriching our aesthetic experience.'' -Sarah Cooper, Professor, Film Studies Department, King's College London, UK