This book explores the idea of a new cosmopolitan Japanese identity through a socio-cultural analysis of contemporary Japanese writer Haruki Murakami. It is the first monograph to apply the idea of cosmopolitanism to this writer's global popularity widely known as the "Haruki phenomenon".By pioneering an enquiry into Murakami's cosmopolitanism, this book aims to overcome the prevailing myth of "Japaneseness"(Nihonjinron) as a form of self-identification for Japanese, and propose an alternative approach for contemplating contemporary Japanese cultural identity. Socio-cultural analysis of this author and his works shall establish Murakami's cosmopolitan qualities and how they contribute to the cultural phenomenon of globalization. Furthermore, this book will introduce the idea of "everyday cosmopolitanism" as a relevant concept to address an emergent global cultural sphere. Unlike the traditional model of cosmopolitanism, which is sometimes regarded as idealist and elitist, "everyday cosmopolitanism" encompasses the everyday spheres of ordinary people. Tomoki Wakatsuki argues that the Haruki phenomenon, as a global and local event, echoes this important social trend today. Murakami's departure from conventional notions of Japanese identity offers an alternative perception of identity and belonging that is useful for situating Japanese identity within a global context. This text will be of interest to students and scholars of cultural studies, global literature, contemporary Japanese literature, cultural cosmopolitanism and the global cultural sphere.

In this bold book, Jonas Grethlein proposes a new dialogue between the fields of Classics and aesthetics. Ancient material, he argues, has the capacity to challenge and re-orientate current debates. Comparisons with modern art and literature help to balance the historicism of classical scholarship with transcultural theoretical critique. Grethlein discusses ancient narratives and pictures in order to explore the nature of aesthetic experience. While our responses to both narratives and pictures are vicarious, the 'as-if' on which they are premised is specifically shaped by the form of the representation. Form emerges as a key to how narratives and pictures constitute an important means of engaging with experience. Combining theoretical reflections with close readings, this book will appeal to art historians as well as to textual scholars.

Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things. They are the things we step on without noticing and the largest organisms on Earth. They are symbols of inexplicable growth and excruciating misery. They are grouped with plants, but they behave more like animals. In their inscrutability, mushrooms are wondrous organisms. The mushroom is an ordinary object whose encounters with humans are usually limited to a couple of species prepackaged at the grocery store. This book offers mushrooms as much more than a pasta ingredient or trendy coffee alternative. It presents these objects as the firmament for life as we know it, enablers of mystical traditions, menders of minds lost to depression. But it acknowledges, too, that this firmament only exists because of death and rot. Rummaging through philosophical, literary, medical , ecological , and anthropological texts only serves to confirm what the average forager already knows: that mushrooms are to be regarded with a reverence deserving of only the most powerful entities: those who create and destroy, and thrive on both. Object Lessons is published in partnership with an essay series in The Atlantic.

2019 witnessed the 30th anniversary of the German reunification. But the remembrance of the fall of the Berlin Wall coincided with another event of global importance that caught much less attention: the 250th anniversary of Napoleon Bonaparte's birth. There is an undeniable historical and philosophical dimension to this coincidence. Napoleon's appearance on the scene of world history seems to embody European universalism (soon thereafter in the form of a 'modern' imperial project); whilst scholars such as Francis Fukuyama saw in the events of 1989 its historical fulfilment. Today, we see more clearly that the fall of the Berlin Wall stands for an epistemic earthquake, which generated a world that can no longer be grasped through universal concepts. Here, we deal with the idea of Europe and of its relation to the world itself. Picking up on this contingency of world history with an ironic wink, the volume analyses in retrospect the epoch of European universalism. It focusses on its dialectics, polemically addressing and remembering both 1769 and 1989. L'annee 2019 a ete marquee par le 30e anniversaire de la reunification de l'Allemagne, eclipsant un autre evenement d'envergure mondiale : le 250e anniversaire de Napoleon Bonaparte. La dimension philosophico-historique de cette coincidence ne peut pourtant pas etre negligee : si l'arrivee de Bonaparte sur la scene de l'histoire mondiale semble incarner l'avenement de l'universalisme europeen (bientot amene a prendre sa forme " moderne " et imperiale), certains penseurs ont suggere, avec Francis Fukuyama, que " 1989 " marquait son accomplissement historique. Aujourd'hui, il apparait au contraire que la chute du mur de Berlin a ete un veritable tremblement de terre epistemique, et rendu inoperants les concepts universels. Dans le monde d'apres, c'est a l'idee d'Europe et a sa relation au monde que nous avons affaire. Revenant par un geste ironique sur cette contingence historique, le present volume se veut une analyse retrospective de l'epoque de l'universalisme, dans toute la dialectique que les commemorations de 1769/1989 ont fait surgir.

This book explores the fascinating and intimate relationship between music and physics. Over millennia, the playing of, and listening to music have stimulated creativity and curiosity in people all around the globe. Beginning with the basics, the authors first address the tonal systems of European-type music, comparing them with those of other, distant cultures. They analyze the physical principles of common musical instruments with emphasis on sound creation and particularly charisma. Modern research on the psychology of musical perception - the field known as psychoacoustics - is also described. The sound of orchestras in concert halls is discussed, and its psychoacoustic effects are explained. Finally, the authors touch upon the role of music for our mind and society. Throughout the book, interesting stories and anecdotes give insights into the musical activities of physicists and their interaction with composers and musicians.

How we perceive and respond to visual art has been a central concern of psychologists, philosophers and art historians. Today, where the visual image increasingly permeates our everyday life and consciousness, the question becomes ever more relevant. How do we, for instance, instinctively "know" what it is that a picture represents without having to be taught? How is it that we often want to talk about the pictures we look at? Such questions are currently asked by a wide range of disciplines, including: semiotics, psychoanalysis, anthropology, neuropsychology, and in general, contemporary critical analysis of the visual arts. In "A Transformational Theory of Aesthetics", Michael Stephan breaks new ground by linking the findings of these areas. Drawing on their common area of knowledge, he has developed a new theory of picture perception and aesthetic response, arguing that images can generate in us a complex pattern of mental changes, or transformations. This is because the left and right hemispheres of the brain do not always work in harmony, hence the wide ranging nature of aesthetic response to distinct art forms.

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.

Love and Vulnerability: Thinking with Pamela Sue Anderson developed out of the desire for dialogue with the late feminist philosopher Pamela Sue Anderson's extraordinary, previously unpublished, last work on love and vulnerability. The collection publishes this work for the first time, with a diverse, multidisciplinary, international range of contributors responding to it, to Anderson's oeuvre as a whole and to her life and death. Anderson's path-breaking work includes A Feminist Philosophy of Religion (1998) and Re-visioning Gender in Philosophy of Religion: Reason, Love and Epistemic Locatedness (2012). Her last work critiques, then attempts to rebuild, concepts of love and vulnerability. Reason, critical self-reflexivity, emotion, intuition and imagination, myth and narrative all have a role to play. Social justice, friendship, conversation, dialogue, collective work are central to her thinking. Contributors trace the emergence of Anderson's late thinking, extend her conversations with the history of philosophy and contemporary voices such as hooks and Butler, and bring her work into contact with debates in theology; Continental and analytic philosophy; feminist, queer and transgender theory; postcolonial theory; African-American studies. Discussions engage with the Me Too movement and sexual violence, climate change, sweatshops, neoliberalism, death and dying, and the nature of the human. Originally published as a special issue of the journal, Angelaki, this large, wide-ranging collection, featuring a number of distinguished contributors, makes a significant contribution to the burgeoning interdisciplinary research on interpersonal relations, sympathy and empathy, affect and emotion.

Engineering has always been a part of human life but has only recently become the subject matter of systematic philosophical inquiry. The Routledge Handbook of the Philosophy of Engineering presents the state-of-the-art of this field and lays a foundation for shaping future conversations within it. With a broad scholarly scope and 55 chapters contributed by both established experts and fresh voices in the field, the Handbook provides valuable insights into this dynamic and fast-growing field. The volume focuses on central issues and debates, established themes, and new developments in: Foundational perspectives Engineering reasoning Ontology Engineering design processes Engineering activities and methods Values in engineering Responsibilities in engineering practice Reimagining engineering The Routledge Handbook of the Philosophy of Engineering will be of value for both students and active researchers in philosophy of engineering and in cognate fields (philosophy of technology, philosophy of design). It is also intended for engineers working both inside and outside of academia who would like to gain a more fundamental understanding of their particular professional field. The increasing development of new technologies, such as autonomous vehicles, and new interdisciplinary fields, such as human-computer interaction, calls not only for philosophical inquiry but also for engineers and philosophers to work in collaboration with one another. At the same time, the demands on engineers to respond to the challenges of world health, climate change, poverty, and other so-called "wicked problems" have also been on the rise. These factors, together with the fact that a host of questions concerning the processes by which technologies are developed have arisen, make the current Handbook a timely and valuable publication.

Many of our interactions in the twenty-first century - both good and bad - take place by means of institutions, technology, and artefacts. We inhabit a world of implements, instruments, devices, systems, gadgets, and infrastructures. Technology is not only something that we make, but is also something that in many ways makes us. The discipline of ethics must take this constitutive feature of institutions and technology into account; thus, ethics must in turn be embedded in our institutions and technology. The contributors to this book argue that the methodology of 'designing in ethics' - addressing and resolving the issues raised by technology through the use of appropriate technological design - is the way to achieve this integration. They apply their original methodology to a wide range of institutions and technologies, using case studies from the fields of healthcare, media and security. Their volume will be important for philosophical practitioners and theorists alike.

Through a detailed study of Herder's Enlightenment thought, especially his philosophy of literature, Kristin Gjesdal offers a new and sometimes provocative reading of the historical origins and contemporary challenges of modern hermeneutics. She shows that hermeneutic philosophy grew out of a historical, anthropological, and poetic discourse in the mid-eighteenth century and argues that, as such, it represents a rich, stimulating, and relevant engagement with the potentials and limits of human meaning and understanding. Gjesdal's study broadens our conception of hermeneutic philosophy - the issues it raises and the answers it offers - and underlines the importance of Herder's contribution to the development of this discipline. Her book will be highly valuable for students and scholars of eighteenth-century thought, especially those working in the fields of hermeneutics, aesthetics, and European philosophy.

This Companion provides a comprehensive analysis and appraisal of all of Scott's available (published and unpublished) music and a broad picture of his entire output in literary, dramatic and philosophical genres. Cyril Scott (1879-1970) was an English composer, writer and poet. He was a prolific composer-pianist writing over 400 works including four symphonies, three operas and concerti for piano, violin, cello, oboe and harpsichord. Oftenperforming his own compositions he became a pioneer of British piano music, and his music was admired by composers as diverse as Debussy, Strauss, Stravinsky and Percy Grainger, the last a lifelong friend. A true polymath, Scottwas also the author of forty-one books, including two autobiographies and one unpublished memoir, on subjects ranging from music, alternative medicine and humour to occultism, theosophy and Christianity. In addition, he wrote poems and plays and painted watercolours. This Companion explores the life and work of this remarkably creative man. It provides a comprehensive analysis and appraisal of all the available music and includes a complete catalogue of his musical works, along with a discography. Several works completely unknown to the musical world, both music and literary (such as the memoir 'Near the End of Life'), are here newly catalogued and discussed. Altogether, thevolume gives a broad picture of Scott's entire output in literary, dramatic and philosophical genres. LEWIS FOREMAN has published many books and articles on music. His Boydell titles include Bax: A Composer and hisTimes (2007), The John Ireland Companion (2011) and with Susan Foreman Felix Aprahamian (2015). DESMOND SCOTT is the son of Cyril Scott. He was an actor, theatre director and TV writer. He is also a sculptor and past-President of the Sculptors Society of Canada. He has contributed to The New Percy Grainger Companion (Boydell Press, 2010) and has published articles in musical journals on Cyril Scott. LESLIE DE'ATH isProfessor, Faculty of Music, Wilfrid Laurier University, Waterloo, Canada. He is Associate Editor of the Journal of Singing, a pianist, conductor and opera director. He has recorded Scott's complete solo piano music for Dutton. Contributors: PETER ATKINSON, MARTYN BRABBINS, LESLIE DE'ATH, PETER DICKINSON, LEWIS FOREMAN, KATHERINE HUDSON, VALERIE LANGFIELD , KURT LELAND, STEPHEN LLOYD, STEVEN MARTIN, ROHINTEN DADDY MAZDA, RICHARD PRICE, EDMUND RUBBRA, DESMOND SCOTT, MARTIN YATES

This book discusses the influence of creative work on human life, and the role it has played in shaping human civilization since antiquity. To do so, it analyzes the history of thought on creative work from three civilizations: Greek, Indian, and Chinese, as well as contemporary neurological studies on consciousness. According to the classical Greeks, humans are instinctively predisposed to use creative work to gain truth, wisdom and happiness; the Indians consider that Dharma (duty, morality, etc.) can be achieved only through work (karma); and for the Chinese, creative work is needed to attain the supreme wisdom (Dao). Modern studies on consciousness show that our brain creates a personal self-model (ego tunnel) when we learn things creatively, and developing such skills provides lifelong protection for the brain. In the 21st century, human involvement in creative work is declining as we use mechanized systems to gain more and more profit, but the wealth falls into the hands of the few superrich: the Plutonomy. As creative work is taken over by AI systems, human work is reduced to operating those machines, and this in turn leads to an exponential growth in the number of part-time workers (Precariat). The declining value of human life today is a consequence of this change in society. Further, reducing creative work means we have no way to distribute wealth, nor do we have any means to address problems like the lack of enthusiasm in the young; the health crisis due to lack of physical activity; or the environmental crisis due to the high demand for energy to run mechanized systems. This book explores these issues.

Kant's Critique of Judgment represents one of the most important texts in modern philosophy. However, while its importance for 19th-century philosophy has been widely acknowledged, scholars have often overlooked its far-reaching influence on 20th-century thought. This book aims to account for the various interpretations of Kant's notion of aesthetic judgment formulated in the last century. The book approaches the subject matter from both a historical and a theoretical point of view and in relation to different cultural contexts, also exploring in an unprecedented way its influence on some very up-to-date philosophical developments and trends. It represents the first choral and comprehensive study on this missing piece in the history of modern and contemporary philosophy, capable of cutting in a unique way across different traditions, movements and geographical areas. All main themes of Kant's aesthetics are investigated in this book, while at the same time showing how they have been interpreted in very different ways in the 20th century. With contributions by Alessandro Bertinetto, Patrice Canivez, Dario Cecchi, Diarmuid Costello, Nicola Emery, Serena Feloj, Gunter Figal, Tom Huhn, Hans-Peter Kruger, Thomas W. Leddy, Stefano Marino, Claudio Paolucci, Anne Sauvagnargues, Dennis J. Schmidt, Arno Schubbach, Scott R. Stroud, Thomas Teufel, and Pietro Terzi.

Broad in its geographic scope and yet grounded in original archival research, this book situates the inception of modern aesthetic theory - the philosophical analysis of art and beauty - in theological contexts that are crucial to explaining why it arose. Simon Grote presents seminal aesthetic theories of the German and Scottish Enlightenments as outgrowths of a quintessentially Enlightenment project: the search for a natural 'foundation of morality' and a means of helping naturally self-interested human beings transcend their own self-interest. This conclusion represents an important alternative to the standard history of aesthetics as a series of preludes to the achievements of Immanuel Kant, as well as a reinterpretation of several canonical figures in the German and Scottish Enlightenments. It also offers a foundation for a transnational history of the Enlightenment without the French philosophes at its centre, while solidly endorsing historians' growing reluctance to call the Enlightenment a secularising movement.

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.

This book situates Ralph Waldo Emerson in the tradition of philosophy as "spiritual exercise", arguing that the defining feature of his literary philosophy is the conviction that there is an inherent link between moral persuasion and literary excellence. Hosseini persuasively argues that the Emersonian project can be viewed as an extension of Socrates' call for a return to the beginning of philosophy, to search for a way of revolutionizing our ways of seeing from within. Examining Emerson's provocative style of writing, Hosseini contends that his prose is shaped by a desire to bring about psychagogia, or influencing the soul through the power of words. This book furthermore examines the evolving nature of Emerson's thoughts on "scholarly action" and its implications, his religious temperament as an aesthetic experience of the world through wonder, and the reasons for a resounding acknowledgment of despair in his essay "Experience." In the concluding chapter, Hosseini explores the depth of Emerson's engagement with the classical Persian poets and argues that what we may call his "literary humanism" is informed by Persian Adab, exemplified in the writings of Rumi, Hafiz, and Saadi. Weaving together themes from Persian philosophy and Emersonian transcendentalism, Hosseini establishes Emerson's way of seeing as refreshingly relevant, showing that the questions he tackled in his writings are as pressing today as they were in his time.

A natural landscape can look serene, a shade of colour cheerful and a piece of music might sound heartrending. Why do we ascribe affective qualities to objects that can't entertain psychological states? The capacity that objects, and especially artworks, have to express affective states is a bizarre phenomenon that needs to be clarified in numerous respects. Philosophers are still struggling with the phenomenon of expressiveness being a matter of imagination, perception, or mnemonic association, and usually do not agree on the role that emotions and human bodily expressions play in it. Benenti questions the main theories that populate the aesthetics domain using the tools of philosophy of mind. This study deals with crucial debates concerning seeing-in, cognitive penetration, the relation between phenomenal character and representational content and between emotions and expressions. It aims at providing a viable account of the experience we have of expressive properties by casting light on its fundamentally perceptual nature. The outcome is an empirically informed and critical overview of a topic which has been rather neglected in the philosophy of mind. The book will be of interest to scholars of the philosophy of mind, aesthetics, the cognitive sciences, and psychology.

Amanda Glauert revisits Beethoven's songs and studies his profound engagement with the aesthetics of the poets he was setting, particularly those of Herder and Goethe. The book offers readers a rich exploration of the poetical and philosophical context in which Beethoven found himself when composing songs. It also offers detailed commentaries on possible responses to specific songs, responses designed to open up new ways for performing, hearing and appreciating this provocative song repertoire. This study will be of great interest to researchers of Beethoven; German song; aesthetics of words and music.

Literature and Understanding investigates the cognitive gain from literature by focussing on a reader's close analysis of a literary text. It examines the meaning of 'literature', outlines the most prominent positions in the literary cognitivism debate, explores the practice of close reading from a philosophical perspective, provides a fresh account of what we mean by 'understanding' and in so doing opens up a new area of research in the philosophy of literature. This book provides a different reply to the challenge that we can't learn anything worthwhile from reading literary fiction. It makes the innovative case that reading literary fiction as literature rather than as fiction stimulates five relevant senses of understanding. The book uses examples of irony, metaphor, play with perspective and ambiguity to illustrate this contention. Before arguing that these five senses of understanding bridge the gap between our understanding of a literary text and our understanding of the world beyond that text. The book will be of great interest for researchers, scholars and post-graduate students in the fields of aesthetics, literary theory, literature in education and pedagogy.

This book is about forms of media that have reflected or increased consciousness of - a sense of place or a regional identity. From landscape painting in the Romantic era to newspaper coverage of devolution, the chapters explore, through contextualized case studies, the aesthetics of a wide range of local, regional and grassroots forms of media.

The nineteenth century was seemingly a period of great progress. Huge advancements and achievements were made in science, technology and industry that transformed life and work alike. But a growing pride in modernity and innovation was tainted by a sense of the loss of the past and the multiple threats which novelty posed. The Cambridge Companion to Nineteenth-Century Thought provides an impressive survey of the period's major ideas and trends. Leading scholars explore some of the most influential concepts and debates within philosophy, history, political thought, economics, religion and the social sciences, as well as feminism and imperialism. Some of these debates continued into the following century and many still remain relevant in the present day. This Companion is an excellent tool for readers seeking to understand the genesis of modern discourse across a range of humanities and social science subjects.

"In his Phenomenology of Cognition, Cassirer provides a comprehensive and systematic account of the dynamic process involved in the whole of human culture as it progresses from the world of myth and its feeling of social belonging to the highest abstractions of mathematics, logic and theoretical physics. Cassirer engages with the most sophisticated and cutting-edge work in fields ranging from ethnology to classics, egyptology and assyriology to ethology, brain science and psychology to logic, mathematics and theoretical physics. His command of philosophy, literature, and the arts is superb. Echoing his work on Kant, Cassirer begins The Philosophy of Symbolic Forms with the problem posed by the meaning of being for philosophy since Plato. But Cassirer also shows that this problem gains new significance with Kant and with the development of modern culture. Cassirer weaves his conception of the development of knowledge into a broadly Kantian and German idealist dynamic-historical conception of significance and of experience that refuses to accept a fundamental opposition between literary, philosophical and scientific culture. In consequence of his great vision grounded in careful reflection and argument, Cassirer's systematic conception of the Copernican cosmopolitan-cosmological revolution is still philosophically and scientifically unmatched in contemporary philosophy on both sides of the Atlantic and of the Pacific." Pierre Keller, Professor of Philosophy, University of California, Riverside, USA. This new translation makes Cassirer's seminal work available to a new generation of scholars. Each volume includes a translator's introduction by Steve G. Lofts, a foreword by Peter E. Gordon, a glossary of key terms, and an index.

Despite the wonders of the digital world, people still go in record numbers to view drawings and paintings in galleries. Why? What is the magic that pictures work on us? This book provides a provocative explanation, arguing that some pictures have special kinds of beauty and sublimity that offer aesthetic transcendence. They take us imaginatively beyond our finite limits and even invoke a sense of the divine. Such aesthetic transcendence forges a relationship with the ultimate and completes us psychologically. Philosophers and theologians sometimes account for this as an effect of art, but How Pictures Complete Us distinguishes itself by revealing how this experience is embodied in pictorial structures and styles. Through detailed discussions of artworks from the Renaissance through postmodern times, Paul Crowther reappraises the entire scope of beauty and the sublime in the context of both representational and abstract art, offering unexpected insights into familiar phenomena such as ideal beauty, pictorial perspective, and what pictures are in the first place.