Sport aesthetics is an important but often marginalized field in the philosophy of sport. Kinetic Beauty offers a comprehensive, principled, pluralist introduction to the philosophical aesthetics of sport. The book tackles a wide variety of issues in the philosophical aesthetics of sport, proposing a five-level analysis that coordinates extant scholarship on the same conceptual map, reveals gaps in the literature, and motivates a fresh perspective on stubborn debates and novel topics in the field (for example, the aesthetic experience of athletes, aesthetic biases in sport, the paradox of sport fiction, and whether dance can be sport). This is an excellent resource for professors and students in the philosophy of sport, sport aesthetics, general aesthetics, and the philosophy of art. It is also a fascinating read for those working in kinesiology, sport studies, philosophy, art, and aesthetics.

This is the first collection of essays focused on the many-faceted work of Kendall L. Walton. Walton has shaped debate about the arts for the last 50 years. He provides a comprehensive framework for understanding arts in terms of the human capacity of make-believe that shows how different arts - visual, photographic, musical, literary, or poetic - can be explained in terms of complex structures of pretense, perception, imagining, empathy, and emotion. His groundbreaking work has been taken beyond aesthetics to address foundational issues concerning linguistic and scientific representations - for example, about the nature of scientific modelling or to explain how much of what we say is quite different from the literal meanings of our words. Contributions from a diverse group of philosophers probe Walton's detailed proposals and the themes for research they open. The essays provide an overview of important debates that have Walton's work at their core. This book will be of interest to scholars and graduate students working on aesthetics across the humanities, as well as those interested in the topic of representation and its intersection with perception, language, science, and metaphysics.

Persuasive Aesthetic Ecocritical Praxis continues Patrick D. Murphy's focus on transversal ecocritical praxis by considering literature and cinema in terms of the persuasive force of aesthetic activity and whether or not artistic production and its criticism can be considered forms of activism. Murphy argues that literature and other forms of aesthetic production hold out the promise of being able to move some individuals deeply through both affective and intellectual engagement in ways that facilitate ideological reflection. To analyze aesthetic production ecocritically requires a transversal orientation in order to work continuously at accommodating a vast array of often seemingly disparate perspectives, disciplines, and contextual information, as well as the ever changing thematic, plot, setting, and contextual elements of the aesthetic works under consideration and the responses of changing audiences through time and across cultures. Murphy demonstrates this approach through presenting theories of transversality and applying them with attention to issues of propaganda, agitation, and persuasion, both in terms of artistic production and the criticism of such production. He also brings an ecofeminist orientation to the fore with particular attention to the gendered economic aspects of environmental issues in an age of land grabs and plantation economies. Along the way he treats a wide range of literary works, films and miniseries. In American literature he discusses realist and science fiction works, from Susan Fenimore Cooper's Rural Hours to Paolo Bacigalupi's The Windup Girl, Barbara Kingsolver's Flight Behavior to Kim Stanley Robinson's 2312, and Ana Castillo's So Far from God to Leslie Marmon Silko's Gardens in the Dunes. In international literature, he analyzes Mo Yan's The Garlic Ballads, Jiang Rong's Wolft Totem, Michiko Ishimure's The Lake of Heaven, Miyuki Miyabe's All She Was Worth, and other novels. The book concludes with a reading of Ernest Callenbach's Ecotopia and Ecotopia Emerging, an Afterword recommending further directions for transversal ecocritical research an and interview that discusses Murphy's previous book, Transversal Ecocritical Praxis, and provides some personal background on the author.

Most people are too busy to keep up with all the good movies they'd like to see, so why should anyone spend their precious time watching the bad ones? In Why It's OK to Love Bad Movies, philosopher and cinematic bottom feeder Matthew Strohl enthusiastically defends a fondness for disreputable films. Combining philosophy of art with film criticism, Strohl flips conventional notions of "good" and "bad" on their heads and makes the case that the ultimate value of a work of art lies in what it can add to our lives. By this measure, some of the worst movies ever made are also among the best. Through detailed discussions of films such as Troll 2, The Room, Batman & Robin, Twilight, Ninja III: The Domination, and a significant portion of Nicolas Cage's filmography, Strohl argues that so-called "bad movies" are the ones that break the rules of the art form without the aura of artistic seriousness that surrounds the avant-garde. These movies may not win any awards, but they offer rich opportunities for creative engagement and enable the formation of lively fan communities, and they can be a key ingredient in a fulfilling aesthetic life. Key Features: Written in a humorous, approachable style, appealing to readers with no background in philosophy. Elaborates the rewards of loving bad movies, such as forming unlikely social bonds and developing refinement without narrowness. Discusses a wide range of beloved bad movies, including Plan 9 from Outer Space, The Core, Battlefield Earth, and Freddy Got Fingered. Contains the most extensive discussion of Nicolas Cage ever included in a philosophy book.

Few concepts are as central to understanding the modern world as borders, and the now-thriving field of border studies has already produced a substantial literature analyzing their legal, ideological, geographical, and historical aspects. Such studies have hardly exhausted the subject's conceptual fertility, however, as this pioneering collection on the aesthetics of borders demonstrates. Organized around six key ideas-ecology, imaginary, in/visibility, palimpsest, sovereignty and waiting-the interlocking essays collected here provide theoretical starting points for an aesthetic understanding of borders, developed in detail through interdisciplinary analyses of literature, audio-visual borderscapes, historical and contemporary ecologies, political culture, and migration.

The second volume in the Studying Lacan's Seminars series, this book is the first comprehensive study of Lacan's Seminar VI: Desire and its Interpretation. A natural companion to Bruce Fink's recent translation of the seminar into English (2019), this book offers a genuine opportunity to delve deeply into the seminar, and a hospitable introduction to Lacan's teachings of the 1950s. This important book brings together various aspects of Cox Cameron's teachings and systematic, careful, and critical readings of Seminar VI. Lacan's theorizing and conceptualizing of the object a, the fundamental fantasy, and aphanisis, as well as the ambiguous treatment of the phallus in his work at the time, are all introduced, contextualized, and explored in detail. The trajectories of his thinking are traced in terms of future developments and elaborations in the seminars that follow closely on the heels of Seminar VI - Seminars VII (Ethics of Psychoanalysis), VIII (Transference), IX (Identification), and X (Anxiety). Consideration is also given to how certain themes and motifs are recapitulated or reworked in his later teachings such as in Seminars XX (Encore), and XXIII (The Sinthome). Also included in this volume are two further essays by Cox Cameron, a most valuable critique of the concept of the phallus in Lacan's theories of the 1950s, and an overview of Seminar VI originally presented as a keynote address to the APW congress in Toronto 2014. The book is of great interest to Lacanian scholars and students, as well as psychoanalytic therapists and analysts interested in Lacan's teachings of the 1950s and in how important concepts developed during this period are treated in his later work.

The second volume in the Studying Lacan's Seminars series, this book is the first comprehensive study of Lacan's Seminar VI: Desire and its Interpretation. A natural companion to Bruce Fink's recent translation of the seminar into English (2019), this book offers a genuine opportunity to delve deeply into the seminar, and a hospitable introduction to Lacan's teachings of the 1950s. This important book brings together various aspects of Cox Cameron's teachings and systematic, careful, and critical readings of Seminar VI. Lacan's theorizing and conceptualizing of the object a, the fundamental fantasy, and aphanisis, as well as the ambiguous treatment of the phallus in his work at the time, are all introduced, contextualized, and explored in detail. The trajectories of his thinking are traced in terms of future developments and elaborations in the seminars that follow closely on the heels of Seminar VI - Seminars VII (Ethics of Psychoanalysis), VIII (Transference), IX (Identification), and X (Anxiety). Consideration is also given to how certain themes and motifs are recapitulated or reworked in his later teachings such as in Seminars XX (Encore), and XXIII (The Sinthome). Also included in this volume are two further essays by Cox Cameron, a most valuable critique of the concept of the phallus in Lacan's theories of the 1950s, and an overview of Seminar VI originally presented as a keynote address to the APW congress in Toronto 2014. The book is of great interest to Lacanian scholars and students, as well as psychoanalytic therapists and analysts interested in Lacan's teachings of the 1950s and in how important concepts developed during this period are treated in his later work.

Richard Linklater's celebrated Before trilogy chronicles the love of Jesse (Ethan Hawke) and Celine (Julie Delpy) who first meet up in Before Sunrise, later reconnect in Before Sunset and finally experience a fall-out in Before Midnight. Not only do these films present storylines and dilemmas that invite philosophical discussion, but philosophical discussion itself is at the very heart of the trilogy. This book, containing specially commissioned chapters by a roster of international contributors, explores the many philosophical themes that feature so vividly in the interactions between Celine and Jesse, including: the nature of love, romanticism and marriage the passage and experience of time the meaning of life the art of conversation the narrative self gender death Including an interview with Julie Delpy in which she discusses her involvement in the films and the importance of studying philosophy, Before Sunrise. Before Sunset. Before Midnight: A Philosophical Exploration is essential reading for anyone interested in philosophy, aesthetics, gender studies, and film studies.

In Sonic Virtuality: Sound as Emergent Perception, authors Mark Grimshaw and Tom Garner introduce a novel theory that positions sound within a framework of virtuality. Arguing against the acoustic or standard definition of sound as a sound wave, the book builds a case for a sonic aggregate as the virtual cloud of potentials created by perceived sound. The authors build on their recent work investigating the nature and perception of sound as used in computer games and virtual environments, and put forward a unique argument that sound is a fundamentally virtual phenomenon. Grimshaw and Garner propose a new, fuller and more complete, definition of sound based on a perceptual view of sound that accounts more fully for cognition, emotion, and the wider environment. The missing facet is the virtuality: the idea that all sound arises from a sonic aggregate made up of actual and virtual sonic phenomena. The latter is a potential that depends upon human cognition and emotion for its realization as sound. This thesis is explored through a number of philosophical, cognitive, and psychological concepts including: issues of space, self, sonosemantics, the uncanny, hyper-realism, affect, Gettier problems, belief, alief, imagination, and sound perception in the absence of sound sensation. Provocative and original, Grimshaw and Garner's ideas have broader implications for our relationship to technology, our increasingly digital lives, and the nature of our being within our supposed realities. Students and academics from philosophy to acoustics and across the broad spectrum of digital humanities will find this accessible book full of challenging concepts and provocative ideas.

This unique introduction fully engages and clearly explains pragmatism, an approach to knowledge and philosophy that rejects outmoded conceptions of objectivity while avoiding relativism and subjectivism. It follows pragmatism's focus on the process of inquiry rather than on abstract justifications meant to appease the skeptic. According to pragmatists, getting to know the world is a creative human enterprise, wherein we fashion our concepts in terms of how they affect us practically, including in future inquiry. This book fully illuminates that enterprise and the resulting radical rethinking of basic philosophical conceptions like truth, reality, and reason. Author Cornelis de Waal helps the reader recognize, understand, and assess classical and current pragmatist contributions-from Charles S. Peirce to Cornel West-evaluate existing views from a pragmatist angle, formulate pragmatist critiques, and develop a pragmatist viewpoint on a specific issue. The book discusses: Classical pragmatists, including Peirce, James, Dewey, and Addams; Contemporary figures, including Rorty, Putnam, Haack, and West; Connections with other twentieth-century approaches, including phenomenology, critical theory, and logical positivism; Peirce's pragmatic maxim and its relation to James's Will to Believe; Applications to philosophy of law, feminism, and issues of race and racism.

The examination of the transcendentals of truth, beauty and the good in this book stems from the perspective of Christian humanism, transcending ourselves in moral psychology, and perfecting ourselves to attain the good life. These critical approaches are each pertinent to the search for meaning in our lives which the transcendentals augment. From such a perspective, the book engages in an exploration of the philosophy of culture and religion which at key points in the discussion draws upon ritual, works of high and especially popular culture. The truth that moves us closer to discovering meaning and a fuller humanity is largely found in the world and culture that surrounds us and is related to wisdom, which is something that concerns us all.

Ernst Cassirer (1874-1945) occupies a unique place in 20th-century philosophy. His view that human beings are not rational but symbolic animals and his famous dispute with Martin Heidegger at Davos in 1929 are compelling alternatives to the deadlock between 'analytic' and 'continental' approaches to philosophy. An astonishing polymath, Cassirer's work pays equal attention to mathematics and natural science but also art, language, myth, religion, technology, and history. However, until now the importance of his work has largely been overlooked. In this outstanding introduction Samantha Matherne examines and assesses the full span of Cassirer's work. Beginning with an overview of his life and works she covers the following important topics: Cassirer's neo-Kantian background Philosophy of mathematics and natural science, including Cassirer's first systematic work, Substance and Function, and subsequent works, like Einstein's Theory of Relativity The problem of culture and the ground-breaking The Philosophy of Symbolic Forms Cassirer's ethical and political thought and his diagnosis of fascism in The Myth of the State Cassirer's influence and legacy. Including chapter summaries, suggestions for further reading, and a glossary of terms, this is an ideal introduction to Cassirer's thought for anyone coming to his work for the first time. It is essential reading for students in philosophy as well as related disciplines such as intellectual history, art history, politics, and literature.

The aim of the volume is to show in which sense the study of culture, literature and the arts can contribute to a better understanding of human cognition. The collection of essays is questioning whether culture is exclusively human and discusses evolutionary substrates of narrative and the interfaces between culture, stories and cognition. The contributions examine the cognitive strengths and weaknesses of literary reading and analyse other techniques of sense-making in the arts through imagined dialogues and the experience of ambiguity. The final contributions are dealing with musical cognition, the relation between music, aesthetics and cognition.

This book is an exploration of how art-specifically paintings in the European manner-can be mobilized to make knowledge claims about the past. No type of human-made tangible thing makes more complex and bewildering demands in this respect than paintings. Ivan Gaskell argues that the search for pictorial meaning in paintings yields limited results and should be replaced by attempts to define the point of such things, which is cumulative and ever subject to change. He shows that while it is not possible to define what art is-other than being an open kind-it is possible to define what a painting is, as a species of drawing, regardless of whether that painting is an artwork or not at any given time. The book demonstrates that things can be artworks on some occasions but not necessarily on others, though it is easier for a thing to acquire artwork status than to lose it. That is, the movement of a thing into and out of the artworld is not symmetrical. All such considerations are properly matters not of ontology-what is and what is not an artwork-but of use; that is, how a thing might or might not function as an artwork under any given circumstances. These considerations necessarily affect the approach to paintings that at any given time might be able to function as an artwork or might not be able to function as such. Only by taking these factors into account can anyone make viable knowledge about the past. This lively discussion ranges over innumerable examples of paintings, from Rembrandt to Rothko, as well as plenty of far less familiar material from contemporary Catholic devotional works to the Chinese avant garde. Its aim is to enhance philosophical acuity in respect of the analysis of paintings, and to increase their amenability to philosophically satisfying historical use. Paintings and the Past is a must-read for all advanced students and scholars concerned with philosophy of art, aesthetics, historical method, and art history.

In recent years there has been a great deal of talk about a possible death of art. As the title of Heidegger's "The Origin of the Work of Art" suggests, the essay challenges such talk, just as it in turn is challenged by such talk, talk that is supported by the current state of the art-world. It was Hegel, who most profoundly argued that the shape of our modern world no longer permits us to grant art the significance it once possessed. Hegel's proclamation of the end of art in its highest sense shadows this commentary, as it shadows Heidegger's essay. Heidegger's problematic turn from the philosopher Hegel to the poet Holderlin is born of the conviction that we must not allow Hegel to here have the last word. At stake is the future of art. But more importantly, if we are to accept Heidegger's argument, at stake is the future of humanity. But all who are eager to find in Heidegger's essay pointers concerning where not just art, but we should be heading, should be made wary by Heidegger's politicizing of art and aestheticizing of politics. Both remain temptations that demand a critical response. This commentary demonstrates the continued relevance of Heidegger's reflections."

This book explores the complexity of Iberian identity and multicultural/multi-religious interactions in the Peninsula through the lens of spells, talismans, and imaginative fiction in medieval and early modern Iberia. Focusing particularly on love magic-which manipulates objects, celestial spheres, and demonic conjurings to facilitate sexual encounters-Menaldi examines how practitioners and victims of such magic as represented in major works produced in Castile. Magic, and love magic in particular, is an exchange of knowledge, a claim to power and a deviation from or subversion of the licit practices permitted by authoritative decrees. As such, magic serves as a metaphorical tool for understanding the complex relationships of the Christian with the non-Christian. In seeking to understand and incorporate hidden secrets that presumably reveal how one can manipulate their environment, occult knowledge became one of the funnels through which cultures and practices mixed and adapted throughout the centuries.

This is the first book to present an aesthetics of virtual reality media. It situates virtual reality media in terms of the philosophy of the arts, comparing them to more familiar media such as painting, film and photography. When philosophers have approached virtual reality, they have almost always done so through the lens of metaphysics, asking questions about the reality of virtual items and worlds, about the value of such things, and indeed, about how they may reshape our understanding of the "real" world. Grant Tavinor finds that approach to be fundamentally mistaken, and that to really account for virtual reality, we must focus on the medium and its uses, and not the hypothetical and speculative instances that are typically the focus of earlier works. He also argues that much of the cultural and metaphysical hype around virtual reality is undeserved. But this does not mean that virtual reality is illusory or uninteresting; on the contrary, it is significant for the altogether different reason that it overturns much of our understanding of how representational media can function and what we can use them to achieve. The Aesthetics of Virtual Reality will be of interest to scholars and advanced students working in aesthetics, philosophy of art, philosophy of technology, metaphysics, and game studies.

This book presents essays that address fundamental issues in social and cultural theory by viewing them through the lens of aesthetic theory. Drawing on the aesthetic theories of Theodor W. Adorno, Gregory Bateson, Jean-Marie Guyau, Talcott Parsons and Georg Simmel, it suggests a new take on basic sociological concepts and methodologies. The chapters cover a wide range of topics, including the sensuality of social action, social construction of unreality, and The Rolling Stones' enduring success as a reflection of our society and culture. The book's title Sociology in a New Key refers to a classic work by Susanne K. Langer, whose Philosophy in a New Key argued for a reorientation of modern philosophical thought based on a thorough account of symbolism in general and of the arts in particular. In this way, the basic ideas and assumptions of the philosophical tradition are transposed to new understandings and perspectives. After all, it was Georg Simmel himself who claimed to have gained several of his general theoretical insights "via the detour of reflections on the essence of art." The book will appeal to scholars and students of the sociology of the arts and music, and to anyone interested in the intersection of social theory and aesthetics.

This comprehensive Handbook offers a leading-edge yet accessible guide to the most important facets of Arthur Schopenhauer's philosophical system, the last true system of German philosophy. Written by a diverse, international and interdisciplinary group of eminent and up-and-coming scholars, each of the 28 chapters in this Handbook includes an authoritative exposition of different viewpoints as well as arguing for a particular thesis. Authors also put Schopenhauer's ideas into historical context and connect them when possible to contemporary philosophy. Key features: Structured in six parts, addressing the development of Schopenhauer's system, his epistemology and metaphysics, aesthetics and philosophy of art, ethical and political thought, philosophy of religion and legacy in Britain, France, and the US. Special coverage of Schopenhauer's treatment of Judaism, Christianity, Vedic thought and Buddhism Attention to the relevance of Schopenhauer for contemporary metaphysics, metaethics and ethics in particular. The Palgrave Schopenhauer Handbook is an essential resource for scholars as well as advanced students of nineteenth-century philosophy. Researchers and graduate students in musicology, comparative literature, religious studies, English, French, history, and political science will find this guide to be a rigorous and refreshing Handbook to support their own explorations of Schopenhauer's thought.

This book offers a diverse understanding and practical approach towards the growing area of atmosphere research, in the context of philosophy, geography and architecture. It begins by tracing back to the model of experience called the "pathic". Drawing on the phenomenology of theorists Hermann Schmitz and Gernot Boehme, introductory chapters offer a grounding for the beginnings of pathic research. The chapters go on to apply pathic framework to a range of practical cases from theatre studies to education. Atmospheres are often defined as affects one feels in a "lived space" and researchers are becoming more interested in the emotions we feel in natural and artificial environments across day to day life. By providing a critical re-evaluation of phenomenology and aesthetics, the book brings a series of unexplored and controversial subjects to light, opening up a new context for thinking about our everyday life and experiences inscribed within aesthetics, politics, literature, spatial practices and pedagogy and effectively merging abstract philosophy and concrete practice. This book is particularly poignant in the emerging field of Atmosphere and New Aesthetics research. Practitioners, academics and researchers working within Cultural Geography, Aesthetics, Art and Philosophy will find this book extremely valuable.

Interpretation has historically been understood as a method to shrink the distance between the interpreter and the interpreted. This view has dominated the comprehension of the interpretation of art: it always entails the interpretation of something, and this something must then govern our effort to understand it. If not, we are left with mere subjective whims. This book tries to modify this well-worn view by altering the dualist position to incorporate the very object within the sense-making activity. Interpretation rather becomes the creative making of something different, and this explains why it is deemed unfinished. The notion of "re-contextualization" covers this in between operation (between work and interpretation), and the very object of interpretation remains just an enabling condition of transference. Interpretation preserves the challenge, by re-making and re-locating meaning.

This monograph takes an interdisciplinary and cross-cultural approach to 20th and 21st -century Canadian Daoist poetry, fiction and criticism in comparative, innovative and engaging ways. Of particular interest are the authors' refreshing insights into such holistic and topical issues as the globalization of concepts of the Dao, the Yin/Yang, the Heaven-Earth-Humanity triad, the Four Greats, Five Phases, Non-action and so on, as expressed in Canadian literature and criticism - which produces Canadian-constructed Daoist poetics, ethics and aesthetics. Readers will come to understand and appreciate the social and ecological significance of, formal innovations, moral sensitivity, aesthetic principles and ideological complexity in Canadian-Daoist works.

In this volume the philosophy of perception and observation is discussed by leading philosophers with implications in the philosophy of mind, in epistemology, and in philosophy of science. In the last years the philosophy of perception underwent substantial changes and new views appeared: the intentionality of perception has been contested by relational theories of perception (direct realism), a richer view of perceptual content has emerged, new theories of intentionality have been defended against naturalistic theories of representation (e. g. phenomenal intentionality). These theoretical changes reflect also new insights coming from psychological theories of perception. These changes have substantial consequences for the epistemic role of perception and for its role in scientific observation. In the present volume, leading philosophers of perception discuss these new views and show their implications in the philosophy of mind, in epistemology and in philosophy of science. A special focus is laid on Franz Brentano and Ludwig Wittgenstein. A reference volume for all scholars and students of the history, psychology and philosophy of perception, and cognitive science.

Writing Politics is a methods book designed to instruct on politically focused literary inquiry. Exploring the political sensibilities that arise from the way literary fiction re-textualizes historical periods and events, the book features a series of violence-themed inquiries that emphasize forms of writing as the vehicles for politically attuned historiography. Each investigation treats the way the literary genre, within historiographic metafiction, enables political inquiry. It's a form of writing that inter-articulates history and fiction to rework a textual past and unsettle dominant understandings of events and situations. Central to the diverse chapters are fictional treatments of authoritarian, fascist, or zealous mentalities. Featured, for example, are Radovan Karadzic (the architect of the Bosnian genocide), Reinhard Heydrich (the architect of the Holocaust's "final solution"), and the Trotsky assassin Ramon Mercader. Michael J. Shapiro has produced another original and sophisticated bookshelf staple; the only contemporary investigation in Political Studies that instructs on method in this way.