Who Needs Classical Music? considers the value of classical music in contemporary society, arguing that it remains distinctive because it works in quite different ways to the other music that surrounds us. Johnson maintains that music is more than just 'a matter of taste'; while some music serves as a background noise or supplies entertainment, other music functions as art. Challenging dominant assumptions about the relativism of cultural judgements, the book aims to restore some types of music to the status of aesthetic text.

The work of the Kyoto School represents one of the few streams of philosophy that originate in Japan. Following the cultural renaissance of the Meiji Restoration after Japan's period of closure to the outside world (1600-1868), this distinctly Japanese thought found expression especially in the work of Kitaro Nishida, Keiji Nishitani and Hajime Tanabe. Above all this is a philosophy of experience, of human becoming, and of transformation. In pursuit of these themes it brings an inheritance of Western philosophy that encompasses William James, Hume, Kant and Husserl, as well as the psychology of Wilhelm Wundt, into conjunction with Eastern thought and practice. Yet the legacy and continuing reception of the Kyoto School have not been easy, in part because of the coincidence of its prominence with the rise of Japanese fascism. In light of this, then, the School's ongoing relationship to the thought of Heidegger has an added salience. And yet this remains a rich philosophical line of thought with remarkable salience for educational practice.

The present collection focuses on the Kyoto School in three unique ways. First, it concentrates on the School's distinctive account of human becoming. Second, it examines the way that, in the work of its principal exponents, diverse traditions of thought in philosophy and education are encountered and fused. Third, and with a broader canvas, it considers why the rich implications of the Kyoto School for for philosophy and education have not been more widely appreciated, and it seeks to remedy this.

The first part of the book introduces the historical and philosophical background of the Kyoto School, illustrating its importance especially for aesthetic education, while the second part looks beyond this to explore the convergence of relevant streams of philosophy, East and West, ranging from the Noh play and Buddhist practices to American transcendentalism and post-structuralism.

Narrative explanations are preferred over non-narrative, axiomatically, in the humanities. They are more truthful in two senses. Firstly they correspond more closely than a-narrative theories to reality. Secondly they enable, at the very least, value-loaded normative inferences. This is particularly the case when aesthetics is added to the mix. Emslie examines this argument over a wide terrain and over materials ranging from high to popular culture and from close analysis to anecdote, including Marxist Humanism, Feminist literary praxis, Freud, German idealism, discourse ethics, realist aesthetics, Brecht, and sports.

This book considers the Chinese conception of beauty from a historical perspective with regard to its significant relation to human personality and human existence. It examines the etymological implications of the pictographic character mei, the totemic symbolism of beauty, the ferocious beauty of the bronzeware. Further on, it proceeds to look into the conceptual progression of beauty in such main schools of thought as Confucianism, Daoism and Chan Buddhism. Then, it goes on to illustrate through art and literature the leading principles of equilibriumharmony, spontaneous naturalness, subtle void and synthetic possibilities. It also offers a discussion of modern change and transcultural creation conducted with particular reference to the theory of the poetic state par excellence (yi jing shuo) and that of art as sedimentation (ji dian shuo).

Representation is a concern crucial to the sciences and the arts alike. Scientists devote substantial time to devising and exploring representations of all kinds. From photographs and computer-generated images to diagrams, charts, and graphs; from scale models to abstract theories, representations are ubiquitous in, and central to, science. Likewise, after spending much of the twentieth century in proverbial exile as abstraction and Formalist aesthetics reigned supreme, representation has returned with a vengeance to contemporary visual art. Representational photography, video and ever-evolving forms of new media now figure prominently in the globalized art world, while this "return of the real" has re-energized problems of representation in the traditional media of painting and sculpture. If it ever really left, representation in the arts is certainly back. Central as they are to science and art, these representational concerns have been perceived as different in kind and as objects of separate intellectual traditions. Scientific modeling and theorizing have been topics of heated debate in twentieth century philosophy of science in the analytic tradition, while representation of the real and ideal has never moved far from the core humanist concerns of historians of Western art. Yet, both of these traditions have recently arrived at a similar impasse. Thinking about representation has polarized into oppositions between mimesis and convention. Advocates of mimesis understand some notion of mimicry (or similarity, resemblance or imitation) as the core of representation: something represents something else if, and only if, the former mimics the latter in some relevant way. Such mimetic views stand in stark contrast to conventionalist accounts of representation, which see voluntary and arbitrary stipulation as the core of representation. Occasional exceptions only serve to prove the rule that mimesis and convention govern current thinking about representation in both analytic philosophy of science and studies of visual art. This conjunction can hardly be dismissed as a matter of mere coincidence. In fact, researchers in philosophy of science and the history of art have increasingly found themselves trespassing into the domain of the other community, pilfering ideas and approaches to representation. Cognizant of the limitations of the accounts of representation available within the field, philosophers of science have begun to look outward toward the rich traditions of thinking about representation in the visual and literary arts. Simultaneously, scholars in art history and affiliated fields like visual studies have come to see images generated in scientific contexts as not merely interesting illustrations derived from "high art", but as sophisticated visualization techniques that dynamically challenge our received conceptions of representation and aesthetics. "Beyond Mimesis and Convention: Representation in Art and Science" is motivated by the conviction that we students of the sciences and arts are best served by confronting our mutual impasse and by recognizing the shared concerns that have necessitated our covert acts of kleptomania. Drawing leading contributors from the philosophy of science, the philosophy of literature, art history and visual studies, our volume takes its brief from our title. That is, these essays aim to put the evidence of science and of art to work in thinking about representation by offering third (or fourth, or fifth) ways beyond mimesis and convention. In so doing, our contributors explore a range of topics-fictionalism, exemplification, neuroaesthetics, approximate truth-that build upon and depart from ongoing conversations in philosophy of science and studies of visual art in ways that will be of interest to both interpretive communities. To put these contributions into context, the remainder of this introduction aims to survey how our communities have discretely arrived at a place wherein the perhaps-surprising collaboration between philosophy of science and art history has become not only salubrious, but a matter of necessity.

Powers of chaos accompany any order of the human world, being the force against which this order is set. Human experience of history is two-fold. There is history ruled by chaos and history ruled by order. "History" occurs in a continuous flow of both histories. The dialectics of life unto nothingness/creation, struggles for order/order achieved is unceasingly actual. In exploring it, within a wide interdisciplinary and transcultural range, this book reaches beyond a conventional "philosophy of history". It deals with the chaotic as well as the cosmic part of the human historical experience. It stages this drama through the tales that religious, mythical, literary, philosophical, folkloristic, and historiographical sources tell and which are retold and interpreted here. From early on humans wished to know where, why, and wherefore all started and took place. Couldn't the dialectics between chaos and order be meaningful? Couldn't they assume a productive role as to the world's precarious event? Power, strife, guilt, divine grace and revelation, literary symbolization, as well as storytelling are discussed in this book. Philosophy, political theory, theology, religious studies, and literary studies will greatly benefit from its width and density.

Based on Nelson Goodman's conception of language and of pragmatically inherited meaning, this book looks at the arts as systems of particular symbols. The author offers an approach to kalology as a metaphysical implication of symbological functioning.

Tracing embodied transformation in the context of Gaga, the Israeli dance improvisation practice, this book demystifies what Lina Aschenbrenner coins as "neo-spiritual aesthetics." This book takes the reader on an analytical journey through a Gaga class, outlining the effective aesthetics of Gaga as an example for the broader field of neo-spiritualities. It distinguishes a threefold effect of Gaga practice-from a momentary extraordinary experience, to a lasting therapeutic effect, and finally Gaga's worldview potential. It situates the effect in an assemblage of interrelating aesthetics of environment, movement, and bodies. The book shows why seemingly leisure time activities such as Gaga form fruitful research objects to an academic study of religion and opens up research on neo-spiritual practices. In understanding the sensory effect of practice and its cultural and social implications, the book follows an Aesthetics of Religion approach. It departs from the idea that cognition is embodied and that the body is thus central to understanding cultural and social phenomena. Drawing upon a wide array of data gathered in the context of Gaga at the Suzanne Dellal Center in Tel Aviv, the book weaves together different methods of discourse, ritual, movement, body knowledge, and narrative analysis, while acknowledging insights from neuroscience and cognitive science.

This book defines theatricality and performativity through metaphors of texture and weaving, drawn mainly from anthropologist Tim Ingold and philosopher Stephen C. Pepper. Tracing the two concepts' various relations to practices of seeing and doing, but also to conflicting values of novelty and normativity, the study proceeds in a series of intertwining threads, from the theatrical to the performative: Antitheatrical (Plato, the Baroque, Michael Fried); Pro-theatrical (directors Wagner, Fuchs, Meyerhold, Brecht, and Brook); Dramatic (weaving memory in Shaffer's Amadeus and Beckett's Footfalls); Efficient (from modernist "machines for living in" to the "smart home"); Activist (knit graffiti, clown patrols, and the Anthropo(s)cene). An approach is developed in which 'performativity' names the way we tacitly weave worlds and identities, variously concealed or clarified by the step-aside tactics of 'theatricality'.

This book presents argumentation for an evolutionary continuity between human persons and cyborg persons, based on the thought of Joseph Margolis. Relying on concepts of cultural realism and post-Darwinism, Aleksandra Lukaszewicz Alcaraz redefines the notion of the person, rather than a human, and discusses the various issues of human body enhancement and online implants transforming modes of perception, cognition, and communication. She argues that new kinds of embodiment should not make acquiring the status of the person impossible, and different kinds of embodiments may be accepted socially and culturally. She proposes we consider ethical problems of agency and responsibility, critically approaching vitalist posthuman ethics, and rethinking the metaphysical standing of normativity, to create space for possible cyborgean ethics that may be executed in an Extended Republic of Humanity.

Phenomenology was one of the twentieth century's major philosophical movements, and it continues to be a vibrant and widely studied subject today with relevance beyond philosophy in areas such as medicine and cognitive sciences. The Routledge Handbook of Phenomenology and Phenomenological Philosophy is an outstanding guide to this important and fascinating topic. Its focus on phenomenology's historical and systematic dimensions makes it a unique and valuable reference source. Moreover, its innovative approach includes entries that don't simply reflect the state-of-the-art but in many cases advance it. Comprising seventy-five chapters by a team of international contributors, the Handbook offers unparalleled coverage and discussion of the subject, and is divided into five clear parts: * Phenomenology and the history of philosophy * Issues and concepts in phenomenology * Major figures in phenomenology * Intersections * Phenomenology in the world. Essential reading for students and researchers in philosophy studying phenomenology, The Routledge Handbook of Phenomenology and Phenomenological Philosophy is also suitable for those in related disciplines such as psychology, religion, literature, sociology and anthropology.

This volume is an introduction to those works of Gyoergy Lukacs that have established him as a classic authority in literary criticism: his pre-Marxist The History of the Evolution of Modern Drama (1911), still not available in English, which Eva Corredor analyzes in the original Hungarian text and from which she provides extensive quotations in English; his Kantian collection of essays, Soul and Form (1910); his Hegelian The Theory of the Novel (1920); and his first Marxist work, History and Class Consciousness (1923), which best characterizes the Hungarian philosopher's problematic position between East and West. Lukacs's Marxist theories are studied in the texts written during his exile in Stalinist Russia but published much later: Studies in European Realism (1950), The Historical Novel (1955) and Realism in Our Time (1957). The approach to Lukacs's work is both selective, in the sense that the author chooses to introduce Lukacs's literary theories with a focus on his views of French literature, but also global, in that she integrates these theories in the totality of his intellectual development. At each phase, the true motive of Lukacs's interest in literature is revealed as a pretext to study reality. The detailed biographical data, up-to-date critical bibliography and helpful index contribute to the overall value of this work as a challenging and rewarding source of information on Gyoergy Lukacs's theories of literature.

In a wide-ranging 2007 study of Claude Levi-Strauss's aesthetic thought, Boris Wiseman demonstrates not only its centrality within his oeuvre but also the importance of Levi-Strauss for contemporary aesthetic enquiry. Reconstructing the internal logic of Levi-Strauss's thinking on aesthetics, and showing how anthropological and aesthetic ideas intertwine at the most elemental levels in the elaboration of his system of thought, Wiseman demonstrates that Levi-Strauss's aesthetic theory forms an integral part of his approach to Amerindian masks, body decoration and mythology. He reveals the significance of Levi-Strauss's anthropological analysis of an 'untamed' mode of thinking (pensee sauvage) at work in totemism, classification and myth-making for his conception of art and aesthetic experience. In this way, structural anthropology is shown to lead to ethnoaesthetics. Levi-Strauss, Anthropology and Aesthetics adopts a broad-ranging approach that combines the different perspectives of anthropology, philosophy, aesthetic theory and literary criticism into an unusual and imaginative whole.

This is the first English-language anthology to provide a compendium of primary source material on the sublime. The book takes a chronological approach, covering the earliest ancient traditions up through the early and late modern periods and into contemporary theory. It takes an inclusive, interdisciplinary approach to this key concept in aesthetics and criticism, representing voices and traditions that have often been excluded. As such, it will be of use and interest across the humanities and allied disciplines, from art criticism and literary theory, to gender and cultural studies and environmental philosophy. The anthology includes brief introductions to each selection, reading or discussion questions, suggestions for further reading, a bibliography and index - making it an ideal text for building a course around or for further study. The book's apparatus provides valuable context for exploring the history and contemporary views of the sublime.

This original study examines Jean-Francois Lyotard's philosophical concept of the differend and details its unexplored implications for literature. it provides a new framework with which to understand the discourse itself, from its Homeric beginnings to postmodern works by authors such as Michael Ondaatje and Jonathan Safran Foer.

This unique collection of essays focuses on various aspects of Plato's Philosophy of Art, not only in The Republic , but in the Phaedrus, Symposium, Laws and related dialogues. The range of issues addressed includes the contest between philosophy and poetry, the moral status of music, the love of beauty, censorship, motivated emotions.

This timely book provides new insights into debates around the relationship between women and film by drawing on the work of philosopher Luce Irigaray. Arguing that female-directed cinema provides new ways to explore ideas of representation and spectatorship, it also examines the importance of contexts of production, direction and reception.

This book explores how Modernist movements all across the Mediterranean basin differed from those of other regions. The chapters show how the political and economic turmoil of a period marked by world war, revolution, decolonization, nationalism, and the rapid advance of new technologies compelled artists, writers, and other intellectuals to create a new hybrid Mediterranean Modernist aesthetic which sought to balance the tensions between local and foreign, tradition and innovation, and colonial and postcolonial.

The relevance of painting has been questioned many times over the last century, by the arrival of photography, installation art and digital technologies. But rather than accept the death of painting, Mark Titmarsh traces a paradoxical interface between this art form and its opposing forces to define a new practice known as 'expanded painting' giving the term historical context, theoretical structure and an important place in contemporary practice. As the formal boundaries tumble, the being of painting expands to become a kind of total art incorporating all other media including sculpture, video and performance. Painting is considered from three different perspectives: ethnology, art theory and ontology. From an ethnological point of view, painting is one of any number of activities that takes place within a culture. In art theory terms, painting is understood to produce objects of interest for humanities disciplines. Yet painting as a medium often challenges both its object and image status, 'expanding' and creating hybrid works between painting, objects, screen media and text. Ontologically, painting is understood as an object of aesthetic discourse that in turn reflects historical states of being. Thus, Expanded Painting delivers a new kind of saying, a post-aesthetic discourse that is attuned to an uncanny tension between the presence and absence of painting.

Why is film becoming increasingly important to philosophers? Is it because it can be a helpful tool in teaching philosophy, in illustrating it? Or is it because film can also think for itself, because it can create its own philosophy? In fact, a popular claim amongst film philosophers is that film is no mere handmaiden to philosophy, that it does more than simply illustrate philosophical texts: rather, film itself can philosophise in direct audio-visual terms. Approaches that purport to grant to film the possibility of being more than illustrative can be found in the subtractive ontology of Alain Badiou, the Wittgensteinian analyses of Stanley Cavell, and the materialist semiotics of Gilles Deleuze. In each case there is a claim that film can think in its own way. Too often, however, when philosophers claim to find indigenous philosophical value in film, it is only on account of refracting it through their own thought: film philosophizes because it accords with a favored kind of extant philosophy.

"Refractions of Reality: Philosophy and the Moving Image" is the first book to examine all the central issues surrounding the vexed relationship between the film image and philosophy. In it, John Mullarkey tackles the work of particular philosophers and theorists (Zizek, Deleuze, Cavell, Bordwell, Badiou, Branigan, Ranciere, Frampton, and many others) as well as general philosophical positions (Analytical and Continental, Cognitivist and Culturalist, Psychoanalytic and Phenomenological). Moreover, he also offers an incisive analysis and explanation of several prominent forms of film theorizing, providing a metalogical account of their mutual advantages and deficiencies that will prove immensely useful to anyone interested in the details of particular theories of film presently circulating, as well as correcting, revising, and revisioning the field of film theory as a whole.

Throughout, Mullarkey asks whether the reduction of film to text is unavoidable. In particular: must philosophy (and theory) always transform film into pretexts for illustration? What would it take to imagine how film might itself theorize without reducing it to standard forms of thought and philosophy? Finally, and fundamentally, must we change our definition of philosophy and even of thought itself in order to accommodate the specificities that come with the claim that film can produce philosophical theory? If a 'non-philosophy' like film can think philosophically, what does that imply for orthodox theory and philosophy?

When was photography invented, in 1826 with the first permanent photograph? If we depart from the technologically oriented accounts and consider photography as a philosophical discourse an alternative history appears, one which examines the human impulse to reconstruct the photographic or "the evoking of light". It's significance throughout the history of ideas is explored via the Platonic Dialogues, Iamblichus' theurgic writings, and Marsilio Ficino's texts. This alternative history is not a replacement of other narratives of photographic history but rather offers a way of rethinking photography's ontological instability.

This book demonstrates that theory in literary and cultural studies has moved beyond overarching master theories towards a greater awareness of particularity and contingency - including its own. What is the place of literary and cultural theory after the Age of Theory has ended? Grouping its chapters into rubrics of metatheory, cultural theory, critical theory and textual theory, the collection demonstrates that the practice of "doing theory" has neither lost its vitality nor can it be in any way dispensable. Current directions covered include the renewed interest in phenomenology, the increased acknowledgement of the importance of media history for all cultural practices and formations, complexity studies, new narratology, literary ethics, cultural ecology, and an intensified interest in textual as well as cultural matter.