The way the body is considered and explored in the performing arts has assumed a growing importance, introducing new questions and cross-cutting perspectives on our understanding of the political, sociological and philosophical relevance of the body today. This book is a meeting point for these questions, bringing together a set of contributors experienced in examining the body's presence in live performances. It interweaves several disciplinary outlooks, addressing current theoretical debates on the body relating to the theory of affects, ethics, gender, age, discourse and representation. Looking at recent practice in Portugal, the volume examines several cases where the body and issues of corporeality raise questions of memory, identity, experience and existence. It opens a rare window onto the distinctive Portuguese post-colonial legacy, which has given rise to an intensified search for new forms of bodily affirmation in the world. In so doing, the book conjures up the transformative power of performing arts today: from body into Being.

This book examines the theory, originally raised in Gilles Deleuze's philosophy of film, that cinema has the power to restore our trust in the world. Fruchtl demonstrates that cinema does this in three main ways: by restoring our belief in the absurd, in the body and in a sceptical abstention from judging and acting. Cinema shares this ability with other arts, but what sets it apart in particular is that it evokes Modernity and its principle of subjectivity. This book further develops the idea of trust and cinema by synthesizing the philosophies of complementary thinkers such as Kant, Nancy, Agamben, Benjamin and Ranciere. It concludes with examination of Cavell's solution to the problem of scepticism and a synthesis of Kantian aesthetic theory with Cavellian pragmatism. Originally published in German under the title Vertrauen in die Welt, this English-language translation features a new introduction that situates Fruchtl's work within contemporary analytical philosophy of film. It will be of interest to scholars working in Continental aesthetics, philosophy of film, and film theory.

This book is the culmination of many years of research on Japanese aesthetics by David and Michiko Young, authors of The Art of the Japanese Garden and The Art of Japanese Architecture (Tuttle Publishing). The book contains more than 200 color photographs on a variety of topics pertaining to Japanese art and culture. There are two major aesthetic traditions in Japan --a Restrained Tradition and an Exuberant Tradition. In phenomena as diverse as art, architecture, gardens, clothing, the objects people use and interior decor, the influence of both traditions can be seen. Instead of competing with each other, these two traditions are opposite ends of a continuum on which people move back and forth between restraint and exuberance in the course of their daily lives, depending upon the circumstances. This movement is not arbitrary but governed by principles that go to the core of Japanese culture. The goal of this book is to provide a better understanding of these basic principles. An important theme throughout the book is that Japan is a highly structured society in which people value but seldom have the opportunity to express spontaneity in art and everyday life. True spontaneity is achieved only when an art form is totally mastered so that it flows freely without thought. This kind of spontaneity is seen in children's art, much of the art of Zen Buddhism or absorption in a hobby, sport or music. Most of the time, individuals seek escape from the restrictions of everyday life in fantasy, as evidenced by the popularity of manga and the great diversity of after-hours entertainment in Japan. Sometimes, however, they turn to the values incorporated in the concept of SHIBUSA, an important aesthetic concept in Japan. SHIBUSA attempts to find a compromise between spontaneity and a high level of taste. SHIBUI aesthetics, which favor values such as austerity, asymmetry and subdued colors, is toward the restrained end of the Restraint-Exuberance Continuum. At the same time, however, it represents what we have called "spontaneity of effect," creating an atmosphere that appears to be relaxed and spontaneous, even if it is not truly spontaneous. We believe that the concept of SHIBUSA is a major contribution of Japan to the rest of the world.

Why do we readily dispose of some things, whereas we keep and maintain others for years, despite their obvious wear and tear? Can a greater understanding of aesthetic value lead to a more strategic and sustainable approach to product design? Aesthetic Sustainability: Product Design and Sustainable Usage offers guidelines for ways to reduce, rethink, and reform consumption. Its focus on aesthetics adds a new dimension to the creation, as well as the consumption, of sustainable products. The chapters offer innovative ways of working with expressional durability in the design process. Aesthetic Sustainability: Product Design and Sustainable Usage is related to emotional durability in the sense that the focus is on the psychological and sensuous bond between subject and object. But the subject-object connection is based on more than emotions: aesthetically sustainable objects continuously add nourishment to human life. This book explores the difference between sentimental value and aesthetic value, and it offers suggestions for operational approaches that can be implemented in the design process to increase aesthetic sustainability. This book also offers a thorough presentation of aesthetics, focusing on the correlation between the philosophical approach to the aesthetic experience and the durable design experience. The book is of interest to students and scholars working in the fields of design, arts, the humanities and social sciences; additionally, it will speak to designers and other professionals with an interest in sustainability and aesthetic value.

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.

For many decades Giacomo Leopardi's Zibaldone di pensieri has been seen as a collection of temporary thoughts and impressions whose final expression is to be found in the published poems (the Canti) and satirical dialogues (the Operette morali). The conceptual consistency of the work was thereby denied, privileging Leopardi the poet over Leopardi the thinker. This book shows that such a perceived lack of coherence is merely illusory. The Zibaldone is drawn together by an intricate web of references centring around topics such as the ambivalent concept of nature; the Heraclitean "union of opposites" (ancients and moderns, poetry and philosophy, reason and imagination); and the tension between the desire for happiness and the impossibility of its realization. Largely unknown to the English-speaking world until its translation in 2013, the Zibaldone is Leopardi's intellectual diary, the place where dialogue with the ancient classical traditions evolves into modern encyclopaedism and what has been described as "thought in movement". It establishes Leopardi as one of the most original and radical thinkers of the nineteenth century.

Aesthetic theory in the West has, until now, been dominated by ideas of effect, autonomy, and reception. Transformative Aesthetics uncovers these theories' mutual concern with the transformation of those involved. From artists to spectators, readers, listeners, or audiences, the idea of transformation is one familiar to cultures across the globe. Transformation of the individual is only one part of this aesthetic phenomenon, as contemporary artists are increasingly called upon to have a transformative, sustainable impact on society at large. To this end, Erika Fischer Lichte and Benjamin Wihstutz present a series of fresh perspectives on the discussion of aesthetics, uniting Western theory with that of India, China, Australia, and beyond. Each chapter of Transformative Aesthetics focuses on a different approach to transformation, from the foundations of aesthetics to contemporary theories, breaking new ground to establish a network of thought that spans theatre, performance, art history, cultural studies, and philosophy.

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.

This title was first published in 2002. Challenging the accepted orthodoxy on Nietzsche's views on art, this book seeks both to challenge and to establish a new set of concerns as far as discourses on Nietzsche's thoughts on aesthetics are concerned, whilst at the same time using such insights to illuminate more central concerns of Nietzsche scholarship, such as the will to power, the illusion/truth question, the eternal return, the death of God, tragedy, Wagner. Following the development of Nietzsche's thoughts on art from his earliest writings to his last, Pothen counters traditionally accepted interpretations by suggesting a need to recognize the deep suspicion and at times hostility that Nietzsche displays towards art and the artist throughout his text by emphasising the philosophical arguments underlying this deep suspicion, and by viewing this tendency as something deeply connected to the other areas of his thought. Readers with interests in Nietzsche studies, aesthetics, German philosophy, and the philosophy of music, will find this a particularly invaluable and distinctive contribution to Nietzsche scholarship.

In his Critical Aesthetics and Postmodernism, Paul Crowther argued that art and aesthetic experiences have the capacity to humanize. In Art and Embodiment he develops this theme in much greater depth, arguing that art can bridge the gap between philosophy's traditional striving for generality and completeness, and the concreteness and contingency of humanity's basic relation to the world. As the key element in his theory, he proposes an ecological definition of art. His strategy involves first mapping out and analyzing the logical boundaries and ontological structures of the aesthetic domain. He then considers key concepts from this analysis in the light of a tradition in Continental philosophy (notably the work of Kant, Heidegger, Merleau-Ponty, and Hegel) which--by virtue of the philosophical significance that it assigns to art--significantly anticipates the ecological conception. On this basis, Crowther is able to give a full formulation of his ecological definition. Art, in making sensible or imaginative material into symbolic form, harmonizes and conserves what is unique and what is general in human experience. The aesthetic domain answers basic needs intrinsic to self-consciousness itself, and art is the highest realization of such needs. In the creation and reception of art the embodied subject is fully at home with his or her environment.

The first edition of the Cambridge Companion to Plato (1992), edited by Richard Kraut, shaped scholarly research and guided new students for thirty years. This new edition introduces students to fresh approaches to Platonic dialogues while advancing the next generation of research. Of its seventeen chapters, nine are entirely new, written by a new generation of scholars. Six others have been thoroughly revised and updated by their original authors. The volume covers the full range of Plato's interests, including ethics, political philosophy, epistemology, metaphysics, aesthetics, religion, mathematics, and psychology. Plato's dialogues are approached as unified works and considered within their intellectual context, and the revised introduction suggests a way of reading the dialogues that attends to the differences between them while also tracing their interrelations. The result is a rich and wide-ranging volume which will be valuable for all students and scholars of Plato.

The Aesthetics of Food sets out the continuing philosophical debate about the aesthetic nature of food. The debate begins with Plato's claim that only objects of sight and hearing could be beautiful; consequently, food as something we smell and taste could not be beautiful. Plato's sceptical position has been both supported and opposed in one form or another throughout the ages. This book demonstrates how the current debate has evolved and critically assesses that debate, showing how it has been influenced by the changing nature of critical theory and changes in art historical paradigms (Expressionism, Modernism, and Post-modernism), as well as by recent advances in neuroscience. It also traces changes in our understanding of the sensory experience of food and drink, from viewing taste as a simple single sense to current views on its complex multi-sensory nature. Particular attention is paid to recent philosophical discussion about wine: whether an interest in a wine reflects only a subjective or personal preference or whether one can make objective judgments about the quality and merit of a wine. Finally, the book explores how the debate has been informed by changes in the cooking, presenting, and consuming of food, for example by the appearance of the restaurant in the early nineteenth century as well as the rise of celebrity chefs.

In this volume, Zangwill develops a view of the nature of music and our experience of music that foregrounds the aesthetic properties of music. He focuses on metaphysical issues about aesthetic properties of music, psychological issues about the nature of musical experience, and philosophy of language issues about the metaphorical nature of aesthetic descriptions of music. Among the innovations of this book, Zangwill addresses the limits of literal description, generally, and in the aesthetic case. He also explores the social and political issues about musical listening, which tend to be addressed more in continental traditions.

The book brings to light Neal Stephenson's answer to the technologically induced crisis in identity. The author of this book analyses the ethnocultural, technological, and ideological skeins that make up the biopolitical production of the self. The coming-of-age novel "The Diamond Age" reflects the processes surrounding the emergence of conscience. Through his inspired recycling of cultural traditions, Stephenson's ethico-aesthetic engagement with technology, mass media, and literature advocates an epistemological change in being. This essay's use of affect theory shows how a specific work informs literary theory and thinking, and how literature goes beyond reflecting the "zeitgeist" by offering creative ways to apprehend technology.

This project is born out of similar questions and discussions on the topic of organicism emergent from two critical strands regarding the discourse of organic self-generation: one dealing with the problem of stopping in the design processes in history, and the other with the organic legacy of style in the nineteenth-century as a preeminent form of aesthetic ideology. The epistemologies of self-generation outlined by enlightenment and critical philosophy provided the model for the discursive formations of modern urban planning and architecture. The form of the organism was thought to calibrate modernism's infinite extension. The architectural organicism of today does not take on the language of the biological sciences, as they did in the nineteenth and twentieth centuries, but rather the image of complex systems, be they computational/informational, geo/ecological, even ontological/aesthetic 'networks'. What is retained from the modernity of yesterday is the ideology of endless self-generation. Revisiting such a topic feels relevant now, in a time when the idea of endless generation is rendered more suspect than ever, amid an ever increasing speed and complexity of AI networks. The essays collected in this book offer a variety of critiques of the modernist idea of endless growth in the fields of architecture, literature, philosophy, and the history of science. They range in scope from theoretical and speculative to analytic and critical; from studies of the history of modernity to reflections of our contemporary world. Far from advocating a return to the romantic forms of nineteenth century naturphilosophie, this project focuses in probing organicism for new forms of critique and emergent subjectivities in a contemporary, 'post' pandemic constellation of neo-naturalism in design, climate change, complex systems and information networks. This book will be of interest to a broad range of researchers and professionals in architecture and art history, historians of science, visual artists, and scholars in the humanities more generally.

The First and Second Comings of capitalism are conceptual shorthands used to capture the radical changes in global geopolitics from the Opium War to the end of the Cold War and beyond. Centring the role of capitalism in the Chinese everyday, the framework can be employed to comprehend contemporary Chinese culture in general and, as in this study, Chinese cinema in particular. This book investigates major Chinese-language films from mainland China, Taiwan, and Hong Kong in order to unpack a hyper-compressed capitalist modernity with distinctive Chinese characteristics. As a dialogue between the film genre as a mediation of microscopic social life, and the narrative of economic development as a macroscopic political abstraction, it engages the two otherwise remotely related worlds, illustrating how the State and the Subject are reconstituted cinematically in late capitalism. A deeply cultural, determinedly historical, and deliberately interdisciplinary study, it approaches "culture" anthropologically, as a way of life emanating from the everyday, and aesthetically, as imaginative forms and creative expressions. Economy, Emotion, and Ethics in Chinese Cinema will appeal to students and scholars of Chinese cinema, cultural studies, Asian studies, and interdisciplinary studies of politics and culture.

The Collective Imagination explores the social foundations of the human imagination. In a lucid and wide-ranging discussion, Peter Murphy looks at the collective expression of the imagination in our economies, universities, cities, and political systems, providing a tour-de-force account of the power of the imagination to unite opposites and find similarities among things that we ordinarily think of as different. It is not only individuals who possess the power to imagine; societies do as well. A compelling journey through various peak moments of creation, this book examines the cities and nations, institutions and individuals who ply the paraphernalia of paradoxes and dialogues, wry dramaturgy and witty expression that set the act of creation in motion. Whilst exploring the manner in which, through the media of pattern, figure, and shape, and the miracles of metaphor, things come into being, Murphy recognises that creative periods never last: creative forms invariably tire; inventive centres inevitably fade. The Collective Imagination explores the contemporary dilemmas and historic pathos caused by this-as cities and societies, periods and generations slip behind in the race for economic and social discovery. Left bewildered and bothered, and struggling to catch up, they substitute empty bombast, faded glory, chronic dullness or stolid glumness for initiative, irony, and inventiveness. A comprehensive audit of the creativity claims of the post-modern age - that finds them badly wanting and looks to the future - The Collective Imagination will appeal to sociologists and philosophers concerned with cultural theory, cultural and media studies and aesthetics.

A Natural Theology of the Arts contends that the arts are theological by their very nature and not simply when they are explicitly religious - thereby constituting a distinctive kind of 'natural theology'. Borrowing from science the stance of 'critical realism' to justify truth claims in art and theology, it argues that works of art are complex metaphors that convey the 'real presence' of God, even when not labelled as such. Citing numerous examples from literature, painting, and music - including Shakespeare's King Lear, Vermeer's Young Woman with a Water Jug, Rembrandt's Return of the Prodigal Son, and Stephen Cleobury's experiences performing Bach's St Matthew Passion and Britten's Rejoice in the Lamb - the author concludes that works of art anticipate the new creation, thereby suggesting a Trinitarian account of the God present in the creation and reception of such works.

Originally published in 1962, the experimental study of aesthetics was a field particularly associated with the name of C.W. Valentine, who in this book provided a critical review of research carried out since the end of the nineteenth century principally by British and American psychologists. The investigations described, many of them conducted by the author, are concerned with individual responses to what is commonly regarded as beautiful in painting, music, and poetry, an important distinction being made between the perception of objects as 'beautiful' as opposed to 'pleasing'. The reactions of children and adults, and of people having different ethnic and social backgrounds, are explored in a variety of experiments dealing with specific elements, including colour, form, and balance in painting; musical intervals, discord, harmony, melody, and tempo; and rhythm, metre, imagery, and associations in classical and romantic poetry. Other experiments seek to disclose the temperamental and attitudinal factors underlying individual differences in the judgement and appreciation of specific works of art. Of particular interest are the studies of responses to modern paintings, poems and musical compositions. The findings throw light on the development of discrimination and taste and suggest the possibility of some common factor in the appreciation of these three arts. It was felt that critics as well as psychologists and aestheticians would find much to encourage reflection and to stimulate further research.

This book discusses affective practices in performance through the study of four contemporary performers - Keith Hennessy, Ilya Noe, Caro Novella, and duskin drum - to suggest a tentative rhetoric of performativity generating political affect and permeating attempts at social justice that are often alterior to discourse. The first part of the book makes a case for the political work done alongside discourse by performers practising with materials that are not-known, in ways that are directly relevant to people carrying out their daily lives. In the second part of the book, four case study chapters circle around figures of irresolvable paradox - hendiadys, enthymeme, anecdote, allegory - that gesture to what is not-known, to study strategies for processes of becoming, knowing and valuing. These figures also shape some elements of these performances that make up a suggested rhetorical stance for performativity.

This book examines the work of Ernst Junger and its effect on the development of Martin Heidegger's influential philosophy of technology. Vincent Blok offers a unique treatment of Junger's philosophy and his conception of the age of technology, in which both world and man appear in terms of their functionality and efficiency. The primary objective of Junger's novels and essays is to make the transition from the totally mobilized world of the 20th century toward a world in which a new type of man represents the gestalt of the worker and is responsive to this new age. Blok proceeds to demonstrate Junger's influence on Heidegger's analysis of the technological age in his later work, as well as Heidegger's conceptions of will, work and gestalt at the beginning of the 1930s. At the same time, Blok evaluates Heidegger's criticism of Junger and provides a novel interpretation of the Junger-Heidegger connection: that Junger's work in fact testifies to a transformation of our relationship to language and conceptualizes the future in terms of the Anthropocene. This book, which arrives alongside several new English-language translations of Junger's work, will interest scholars of 20th-century continental philosophy, Heidegger, and the history of philosophy of technology.

This book connects Schopenhauer's philosophy with transcendental idealism by exploring the distinctly Kantian roots of his pessimism. By clearly discerning four types of coming to knowledge, it demonstrates how Schopenhauer's epistemology can enlighten this connection with other areas of his philosophy. The individual chapters in this book discuss how these knowledge types-immediate or mediate, representational or non-representational-relate to Schopenhauer's metaphysics, ethics and action, philosophy of religion, aesthetics, and asceticism. In each of these areas, a specific sense of pessimism serves to disarm a number of paradoxes and inconsistencies typically associated with Schopenhauer's philosophy. The Kantian Foundation of Schopenhauer's Pessismism shows how Schopenhauer's claim that he is a true successor to Kant can be justified.

Originally published in 1924 this title is substantially a continuation of Baudouin's earlier title Studies in Psychoanalysis, being an application of psychoanalysis to the theory of aesthetics, as illustrated by a detailed study of the works of the Belgian poet Emile Verhaeren. The 'interpretation' Freud has supplied for dreams Baudouin attempts - and archives - for the imagery of the artistic creator. The work is in part based upon private documents supplied to the author by Madame Verhaeren, an autograph letter, and a previously unpublished poem.

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

Bernhard Lang: Critical Guides to Contemporary Composers offers a critical guide and introduction to the work of Austrian composer Bernhard Lang (b. 1957). It identifies the phenomenon of repetition as a central concern in Lang's thinking and making. The composer's artistic practice is identified as one of 'loop aesthetics': a creative poetics in which repetition serves not only as methodology, but also as material, language, and subject matter. The book is structured around the four central thematic nodes of philosophy, music, theatre, and politics. After introducing Lang as a composer whose work is thoroughly influenced by philosophical thought, the book develops a typology of musical repetition as it is explored and activated in Lang's oeuvre. Pointing towards the several repetitions within the performance of Lang's works, the book explores the heavily trans-medial nature of the repeat across domains such as literature, dance, and theatre. Finally, the book investigates Lang's use of textual quotation and musical borrowing. Christine Dysers is a musicologist specialising in contemporary music aesthetics. Her research centres around repetition, politics, absence, the liminal, and the uncanny. This is the first full-length study of the works of Bernhard Lang and is a new volume in the Critical Guides to Contemporary Composers series from Intellect.