How does a novel entice or enlist us? How does a song surprise or seduce us? Why do we bristle when a friend belittles a book we love, or fall into a funk when a favored TV series comes to an end? What characterizes the aesthetic experiences of feeling captivated by works of art? In Hooked, Rita Felski challenges the ethos of critical aloofness that is a part of modern intellectuals' self-image. The result is sure to be as widely read as Felski's book, The Limits of Critique. Wresting the language of affinity away from accusations of sticky sentiment and manipulative marketing, Felski argues that "being hooked" is as fundamental to the appreciation of high art as to the enjoyment of popular culture. Hooked zeroes in on three attachment devices that connect audiences to works of art: identification, attunement, and interpretation. Drawing on examples from literature, film, music, and painting-from Joni Mitchell to Matisse, from Thomas Bernhard to Thelma and Louise-Felski brings the language of attachment into the academy. Hooked returns us to the fundamentals of aesthetic experience, showing that the social meanings of artworks are generated not just by critics, but also by the responses of captivated audiences.

Love and depression are key elements in the cultural script of emotions or affectual life within contemporary Western society, and the two have become intertwined to such an extent that it is informative to talk about depressive love. Indeed, the most common source of depression is intimate relationships, in which one partner is not recognised by the other as being in need or worthy of loving care. This book addresses the question of how it is possible for opposite emotional experiences such as love and depression to appear simultaneously, empirically documenting the phenomenon of depressive love and its implications through studies of art, including music, literature and photography, and the experiences of everyday life, by way of interviews and the analysis of e-mail-, sms-, messenger-correspondence, and other new media spaces. Engaging with a range of sociological, psychoanalytic and philosophical theories of love, depression and emotion, including the work of Simmel, Alberoni, Barthes, Hochschild, Giddens, Luhmann, Beck and Beck-Gernsheim, Illouz, Bauman, Hegel, Honneth, Ehrenberg, Han, Levinas, Sartre, Freud, Lacan, and Kristeva, to name but a few, the author examines the ways in which depressive love is expressed in modern society, asking whether it is a new phenomenon and confined to the West and if not, what is distinctive about depressive love and its associated (dys)functions in contemporary Western society. An empirically rich and theoretically broad study of depressive love as a sign of our times, this book will appeal to scholars and students of social theory and the sociology and philosophy of emotion and interpersonal relationships.

Best known for his work "The Postmodern Condition", Jean-Francois Lyotard is one of the leading figures in contemporary French philosophy. This collection of articles offers an estimation and critique of his work. While the various chapters deal with different aspects of Lyotard's writings, they are all concerned with the question of judgement. The importance to Lyotard of judgement, and how it is to be judged, is a recurrent theme throughout the entire range of his work. It is particularly evident in his continuing engagement with the work of Kant. Lyotard's own essay, "Sensus Communis", which opens this volume, investigates through Kant the presuppositions of judgement. Other essays variously consider how in his writings Lyotard has rendered problematic existing forms of aesthetic, ethical, legal and political judgement. This book should be of interest to undergraduates, postgraduates and academics of philosophy, literary theory, cultural studies and French studies.

Best known for his work "The Postmodern Condition", Jean-Francois Lyotard is one of the leading figures in contemporary French philosophy. This collection of articles offers an estimation and critique of his work. While the various chapters deal with different aspects of Lyotard's writings, they are all concerned with the question of judgement. The importance to Lyotard of judgement, and how it is to be judged, is a recurrent theme throughout the entire range of his work. It is particularly evident in his continuing engagement with the work of Kant. Lyotard's own essay, "Sensus Communis", which opens this volume, investigates through Kant the presuppositions of judgement. Other essays variously consider how in his writings Lyotard has rendered problematic existing forms of aesthetic, ethical, legal and political judgement. This book should be of interest to undergraduates, postgraduates and academics of philosophy, literary theory, cultural studies and French studies.

While much has been written on Marcel Duchamp - one of the twentieth century's most beguiling artists - the subject of his flirtation with architecture seems to have been largely overlooked. Yet, in the carefully arranged plans and sections organising the blueprint of desire in the Large Glass, his numerous pieces replicating architectural fragments, and his involvement in designing exhibitions, Duchamp's fascination with architectural design is clearly evident. As his unconventional architectural influences - Niceron, Lequeu and Kiesler - and diverse legacy - Tschumi, OMA, Webb, Diller plus Scofidio and Nicholson - indicate, Duchamp was not as much interested in 'built' architecture as he was in the architecture of desire, re-constructing the imagination through drawing and testing the boundaries between reality and its aesthetic and philosophical possibilities. Marcel Duchamp and the Architecture of Desire examines the link between architectural thinking and Duchamp's work. By employing design, drawing and making - the tools of the architect - Haralambidou performs an architectural analysis of Duchamp's final enigmatic work Given: 1. The Waterfall, 2. The Illuminating Gas... demonstrating an innovative research methodology able to grasp meaning beyond textual analysis. This novel reading of his ideas and methods adds to, but also challenges, other art-historical interpretations. Through three main themes - allegory, visuality and desire - the book defines and theorises an alternative drawing practice positioned between art and architecture that predates and includes Duchamp.

The essays collected in Aesthetics and Environment comprise a set of variations on art and culture guided by the theme of environment. The essays deal with the physical reality of environment such as the city, the shore, the water and the garden, but also with the virtual environment and the social one. Environmental aesthetics is a theme whose variations are as endless as the possibilities of the human performers and conditions from which it is fashioned. This enticing set of essays testifies to Berleant's special talent in moving easily between both natural and human environments and opens out the contemporary discussion beyond that of the wilderness to the cultural and social environment. Berleant argues that neither the natural nor human environment stands alone and both are best understood as distinctions that are in experience coextensive, that one can only speak of environment in relation to human experience. The theme of this book is that such experience suffuses the so-called natural world and shapes the human world. It maintains the idea that in as much as people are embedded in these worlds, relationships, including human relationships, are part of them. The melding of these two worlds leads Berleant to defend ultimately what he has termed 'social aesthetics' .

First published in 1959, this book is concerned with the methodology of art history, and so with questions about historical thinking; it enquires what scientific history of art can accomplish, what are its mean and limitations? It contains philosophical reflections on history and begins with chapters on the scope and limitations of a sociology of art, and the concept of ideology in the history of art. The chapter on the concept of "art history without names" occupies the central position in the book - thoroughly discussing the basic philosophical outlook for the whole work. There are also further chapters on psychoanalysis, folk art and popular art. The chapter on the role of convention in the history of art points the way for further study.

The Western philosophical tradition shows a marked fondness for tragedy. From Plato and Aristotle, through German idealism, to contemporary reflections on the murderous violence of the twentieth century, philosophy has often looked to tragedy for resources to make suffering, grief, and death thinkable. But what if showing a preference for tragedy, philosophical thought has unwittingly and unknowingly aligned itself with a form of thinking that accepts injustice without protest? This collection explores possibilities for philosophical thinking that refuses the tragic model of thought, and turns instead to its often-overlooked companion: comedy. Comprising of a series of experiments ranging across the philosophical tradition, the essays in this volume propose to break, or at least suspend, the use of tragedy as an index of truth and philosophical worth. Instead, they explore new conceptions of solidarity, sympathy, critique, and justice. In addition, the essays collected here provide ample reason to believe that philosophical thinking, aligned with comedy, is capable of important and original insights, discoveries, and creations. The prejudicial acceptance of tragic seriousness only impoverishes the life of thought; it can be rejuvenated and renewed by laughter and the comic. This book was originally published as a special issue of Angelaki.

"Art, Mimesis and the Avant-Garde" explores the relationship between art and philosophy. Andrew Benjamin argues for a reworking of the task of philosophy in terms of the centrality of ontology. It is in relation to this centrality, understood through the differences between modes of being, that art, mimesis, and the avant-garde come to be presented.
A fundamental part of this book is the original interpretations of important contemporary painters and their themes: Lucian Freud's self-portraits, Francis Bacon's use of mirrors, R. B. Kitaj and Jewish identity, Anselm Kiefer and iconoclasm. Apart from painting, Benjamin considers architecture, literature, and the philosophical writings of Walter Benjamin and Descartes in elaborating the various aspects of ontological difference. Benjamin develops the theory of the avant-garde as a philosophical category rather than a historical marker, thus bringing the worlds of contemporary art criticism and contemporary philosophy closer together.

Benjamin argues for a reappraisal of philosophy with reference to the centrality of ontology, offering original reinterpretations of contemporary painters including Lucien Freud, Francis Bacon and R.B. Kitaj.

Edited by Douglas Kellner and Clayton Pierce, Philosophy, Psychoanalysis and Emancipation is the fifth volume of Herbert Marcuse's collected papers. Containing some of Marcuse's most important work, this book presents for the first time his unique syntheses of philosophy, psychoanalysis, and critical social theory, directed toward human emancipation and social transformation. Within philosophy, Marcuse engaged with disparate and often conflicting philosophical perspectives - ranging from Heidegger and phenomenology, to Hegel, Marx, and Freud - to create unique philosophical insights, often overlooked in favor of his theoretical and political interventions with the New Left, the subject of previous volumes. This collection assembles significant, and in some cases unknown texts from the Herbert Marcuse archives in Frankfurt, including: critiques of positivism and idealism, Dewey's pragmatism, and the tradition of German philosophy philosophical essays from the 1930s and 1940s that attempt to reconstruct philosophy on a materialist base Marcuse's unique attempts to bring together Freud and philosophy philosophical reflections on death, human aggression, war, and peace Marcuse's later critical philosophical perspectives on science, technology, society, religion, and ecology. A comprehensive introduction by Douglas Kellner, Tyson Lewis and Clayton Pierce places Marcuse's work in the context of his engagement with the main currents of twentieth century politics and philosophy. An Afterword by Andrew Feenberg provides a personal memory of Marcuse as scholar, teacher and activist, and summarizes the lasting relevance of his radical thought.

Sublime Subjects explores two fundamental questions: what is the start of humanity? When and how does a newborn child become a subject? These are relevant to psychoanalysis not only theoretically, but also in clinical practice, where the issue at stake is how to help the analysand's mind to grow or, better, to increase the ability to give a meaning to experience. Giuseppe Civitarese here argues that the psychoanalytic theory of sublimation and the aesthetic theory of the sublime are theories of subjectivation that can illuminate each other and give us a better understanding of the birth of the psyche. The aesthetic experience in art and in psychoanalytic practice are concerned with the social constitution of the individual, understood at its pre-reflective, non-verbal or inter-corporeal level. It is at this level that, thanks to the encounter with a receptive other, the turbulences of sensations and proto-emotions become soothing rhythms, proto-ideas or sensible ideas at first and, once words are added, concepts. In Bionian terms, the at-one-ment between mother and baby is a form of primordial abstraction and occurs first in the dimension of the purely sensory and indistinct, and then in the affective space, which nonetheless is always a symbolic space if we take account that sociality is provided for the couple-system by the mother. It is exactly the intersubjective process of elevating toward conceptual thinking, but without ever detaching oneself from the thinking deposited in the body as procedural knowledge, that justifies the definition adopted here of human beings as Sublime Subjects. This book explores these topics not only through the lens of the concept of sublimation or the theory of the sublime, but also through those of masochism, hypochondria, truth and two readings of classical Freudian papers such as the clinical case of Dora and 'Formulations on the two principles of mental functioning'. Sublime Subjects will appeal to psychoanalysts and psychoanalytic psychotherapists, as well as literature and philosophy scholars.

The interdisciplinary French-American thinker Rene Girard (1923-2015) has been one of the towering figures of the humanities in the last half-century. The title of Rene Girard's first book offered his own thesis in summary form: romantic lie and novelistic truth [mensonge romantique et verite romanesque]. And yet, for a thinker whose career began by an engagement with literature, it came as a shock to some that, in La Conversion de l'art, Girard asserted that the novel may be an "outmoded" form for revealing humans to themselves. However, Girard never specified what, if anything, might take the place of the novel. This collection of essays is one attempt at answering this question, by offering a series of analyses of films that aims to test mimetic theory in an area in which relatively little has so far been offered. Does it make any sense to talk of verite filmique? In addition, Mimetic Theory and Film is a response to the widespread objection that there is no viable "Girardian aesthetics." One of the main questions that this collection considers is: can we develop a genre-specific mimetic analysis (of film), and are we able to develop anything approaching a "Girardian aesthetic"? Each of the contributors addresses these questions through the analysis of a film.

Boldly developing the central traditions of American modernist abstraction, Lawrence Carroll's paintings engage with a fundamental issue of aesthetic theory, the nature of the medium of painting, in highly original, frequently extraordinarily successful ways. Aesthetic Theory, Abstract Art, and Lawrence Carroll explains how he understands the medium of painting; shows what his art says about the identity of painting as an art; discusses the place of his paintings in the development of abstraction; and, finally, offers an interpretation of his art. The first monograph devoted to him, this philosophical commentary employs the resources of analytic aesthetics. Art historians trace the development of art, explaining how what came earlier yields to what comes later. Taking for granted that the artifacts they describe are artworks, art historians place them within the history of art. Philosophical art writers define art, explain why it has a history and identify its meaning. Pursuing that goal, Aesthetic Theory, Abstract Art, and Lawrence Carroll roams freely across art history, focused at some points on the story of old master painting and sometimes on the history of modernism, but looking also to contemporary art, in order to provide the fullest possible philosophical perspective on Carroll's work.

This title was first published in 2000. This is an interdisciplinary and international collection on aesthetics with contributions from artists and philosophers and the range of thinkers about art in between. It aims to provide a forum for the kinds of question that used to be addressed within traditional aesthetics, but which have until recently been sidelined in critical writing about art and indeed in many of the most important art practices. The collection as a whole is situated in relation to feminists' approaches, but the editors hope that it will not be read as limited to them.

Bringing together eight previously published essays by M. W. Rowe and a substantial new study of Larkin, this book emphasizes the profound affinities between philosophy and literature. Ranging over Plato, Shakespeare, Goethe, Arnold and Wittgenstein, the first five essays explore an anti-theoretical conception of philosophy. This sees the subject as less concerned with abstract arguments that result in theories, than with prompts intended to induce clarity of vision and psychical harmony. On this understanding, philosophy looks more like literature than logic. Conversely, the last four essays argue that literature is centrally concerned with truth and abstract thought, and that literature is therefore a more cognitive and philosophical enterprise than is commonly supposed.

In recent years architectural discourse has witnessed a renewed interest in materiality under the guise of such familiar tropes as 'material honesty,' 'form finding,' or 'digital materiality.' Motivated in part by the development of new materials and an increasing integration of designers in fabricating architecture, a proliferation of recent publications from both practice and academia explore the pragmatics of materiality and its role as a protagonist of architectural form. Yet, as the ethos of material pragmatism gains more popularity, theorizations about the poetic imagination of architecture continue to recede. Compared to an emphasis on the design of visual form in architectural practice, the material imagination is employed when the architect 'thinks matter, dreams in it, lives in it, or, in other words, materializes the imaginary.' As an alternative to a formal approach in architectural design, this book challenges readers to rethink the reverie of materials in architecture through an examination of historical precedent, architectural practice, literary sources, philosophical analyses and everyday experience. Focusing on matter as the premise of an architect's imagination, each chapter identifies and graphically illustrates how material imagination defines the conceptual premises for making architecture.

Contemporary technical architectural drawings, in establishing a direct relationship between the drawing and its object, tend to privilege the visible physical world at the expense of the invisible intangible ideas and concepts, including that of the designer's imagination. As a result, drawing may become a utilitarian tool for documentation, devoid of any meaningful value in terms of a kind of knowledge that could potentially link the visible and invisible. This book argues that design drawings should be recognized as intermediaries, mediating between the world of ideas and the world of things, spanning the intangible and tangible. The notion of the 'Imaginal' as an intermediary between the invisible and visible is discussed, showing how architectural drawings lend themselves to this notion by performing as creative agents contributing not only to the physical world but also penetrating the realm of concepts. The book argues that this 'in-between' quality to architectural drawing is essential and that it is critical to perceive drawings as subtle bodies that hold physical attributes (for example, form, proportion, color), highly evocative, yet with no matter. Focusing on Islamic geometric architectural drawings, both historical and contemporary, it draws on key philosophical and conceptual notions of imagination from the Islamic tradition as these relate to the creative act. In doing so, this book not only makes important insights into the design process and act of architectural representation, but more broadly it adds to debates on philosophies of the imagination, linking both Western and Islamic traditions.

Although various aesthetic themes have preoccupied many major philosophers, from Plato to Goodman, the central questions of the philosophy of art have remained ill-defined. This book gives a concise and systematic account of the leading philosophical ideas about art and aesthetics from ancient times to the present day, and goes on to propose a new theory of aesthetic satisfaction and artistic abilities.

What is photography? Is it a source of knowledge or an art? Many have said the former because it records the world automatically, others the latter because it expresses human subjectivity. Can photography be both or must we choose? In On Photography: A Philosophical Inquiry, Diarmuid Costello examines these fascinating questions and more, drawing on images by Alfred Stieglitz, Berenice Abbott, Paul Strand, Lee Friedlander, James Welling, and Wolfgang Tillmans, among others, and the writings of Elizabeth Eastlake, Peter Henry Emerson, Edward Weston, Siegfried Kracauer, Andre Bazin, and Stanley Cavell. This sets the scene for the contemporary stand-off between "sceptical" and "non-sceptical" Orthodoxy in the work of Roger Scruton and Kendall Walton, and a New Theory of Photography taking its cue from Laszlo Moholy-Nagy and Patrick Maynard. Written in a clear and engaging style, On Photography is essential reading for anyone interested in the philosophy of photography, aesthetics, art, and visual studies.

This substantial and ambitious dictionary explores the languages and cultures of visual studies. It provides the basis for understanding the foundations and motivations of current theoretical and academic discourse, as well as the different forms of visual culture that have come to organize everyday life. The book is firmly placed in the context of the 'visual turn' in contemporary thought. It has been designed as an interdisciplinary or transdisciplinary introduction to the vocabularies and grammars of visuality that inform thinking in the arts and humanities today. It also offers insight into the philosophical frameworks which underpin the field of visual culture. A central theme that runs throughout the entries is the task of moving away from a narrow understanding of visuality inherited from traditional philosophy toward a richer cultural and multi-sensorial philosophy of concrete experience. The dictionary incorporates intertextual links that encourage readers to explore connections between major themes, theories and key figures in the field. In addition the author's introduction provides a comprehensive and critical introduction which documents the significance of the visual turn in contemporary theory and culture. It is accompanied by an extensive bibliography and further reading list. As both a substantive academic contribution to this growing field and a useful reference tool, this book offers a theoretical introduction to the many languages of visual discourse. It will be essential reading for graduate students and scholars in visual studies, the sociology of visual culture, cultural and media studies, philosophy, art history and theory, design, film and communication studies.

This book develops a theory of picture perception and aesthetic response, arguing that images can generate in us a complex pattern of mental changes, or transformations. It is essential reading to those seriously involved in linking the arts and cognitive sciences.

Although, initially, dealing with specifically pedagogical issues arising out of debates within the philosophy of education, the main thrust of this book tackles the more fundamental questions concerning communication, dialogue and solitude. Irony and Singularity introduces aesthetics into higher education not as an academic discipline among others but as part of a wider strategy to re-orientate teaching. Although focused on the manner in which art and aesthetics are taught within the context of the art school, the book raises wider and more central issues within pedagogy, challenging the currently dominant models rooted in science and the humanities. Engaging with a wide range of philosophers and philosophical traditions often ignored in the philosophy of education, Peters questions the resistance of the aesthetic object to language, communication and instruction and claims that the philosophical acknowledgement of incommunicability coupled with the demand for communication allows us to better understand the role of the teacher as complicit in the production of the aesthetic rather than merely receptive as a reader or interpreter of the aesthetic 'text'.

`... this book, which along with the many other contributions Hanna Segal has made to psychoanalysis in the course of a long and productive professional life, will stand as a further testament to her creative capacity. - Psychoanalytic Quarterly Vol 3 Vol LXII

This book provides an introduction into the subject of aesthetics and the problems associated with it. It emphasizes that aesthetics is not strictly a criterion or rule for production or appreciation. The book will be of interest to students of both art and philosophy.