Alan H. Goldman presents an original and lucid account of the relationship between philosophy and the novel. In the first part, on philosophy of novels, he defends theories of literary value and interpretation. Literary value, the value of literary works as such, is a species of aesthetic value. Goldman argues that works have aesthetic value when they simultaneously engage all our mental capacities: perceptual, cognitive, imaginative, and emotional. This view contrasts with now prevalent narrower formalist views of literary value. According to it, cognitive engagement with novels includes appreciation of their broad themes and the theses these imply, often moral and hence philosophical theses, which are therefore part of the novels' literary value. Interpretation explains elements of works so as to allow readers maximum appreciation, so as to maximize the literary value of the texts as written. Once more, Goldman's view contrasts with narrower views of literary interpretation, especially those which limit it to uncovering what authors intended. One implication of Goldman's broader view is the possibility of incompatible but equally acceptable interpretations, which he explores through a discussion of rival interpretations of Ernest Hemingway's The Sun Also Rises. Goldman goes on to test the theory of value by explaining the immense appeal of good mystery novels in its terms. The second part of the book, on philosophy in novels, explores themes relating to moral agency-moral development, motivation, and disintegration-in Jane Austen's Pride and Prejudice, Mark Twain's Huckleberry Finn, John Irving's The Cider House Rules, and Joseph Conrad's Nostromo. By narrating the course of characters' lives, including their inner lives, over extended periods, these novels allow us to vicariously experience the characters' moral progressions, positive and negative, to learn in a more focused way moral truths, as we do from real life experiences.

Using the example of prehistoric paintings discovered in the late 19th century in Spain and France 'Cave Art, Perception and Knowledge' inquires into epistemic questions related to images, depicting and perception to which this rich material has given rise. The book traces the outline of the doxa of cave art studies.

In this probing look at Alfred Doblin s 1929 novel "Berlin Alexanderplatz" and the stories of W. G. Sebald, "Redeeming Words" offers a philosophical meditation on the power of language in literature. David Kleinberg-Levin draws on the critical theory of Benjamin and Adorno; the idealism and romanticism of Kant, Hegel, Holderlin, Novalis, and Schelling; and the nineteenth- and twentieth-century thought of Nietzsche, Heidegger, and Derrida. He shows how Doblin and Sebald writers with radically different styles working in different historical moments have in common a struggle against forces of negativity and an aim to bring about in response a certain redemption of language. Kleinberg-Levin considers the fast-paced, staccato, and hard-cut sentences of Doblin and the ghostly, languorous, and melancholy prose fiction of Sebald to articulate how both writers use language in an attempt to recover and convey this utopian promise of happiness for life in a time of mourning."

This work defends two main theses. First, modern Western pornographic fiction functions as a self-deceptive vehicle for sexual or blood-lustful arousal; and second, that its emergence owes as much to Puritan Protestantism and its inner- or this-worldly asceticism as does the emergence of modern rationalized capitalism.

This monograph is based on archival research and close readings of James Joyce's and W. B. Yeats's poetics and political aesthetics. Georges Sorel's theory of social myth is used as a starting point for exploring the ways in which the experience of art can be seen as a form of religious experience.

This anthology fosters an interdisciplinary dialogue between the mathematical and artistic approaches in the field where mathematical and artistic thinking and practice merge. The articles included highlight the most significant current ideas and phenomena, providing a multifaceted and extensive snapshot of the field and indicating how interdisciplinary approaches are applied in the research of various cultural and artistic phenomena. The discussions are related, for example, to the fields of aesthetics, anthropology, art history, art theory, artistic practice, cultural studies, ethno-mathematics, geometry, mathematics, new physics, philosophy, physics, study of visual illusions, and symmetry studies. Further, the book introduces a new concept: the interdisciplinary aesthetics of mathematical art, which the editors use to explain the manifold nature of the aesthetic principles intertwined in these discussions.

Plato’s Timaeus is unique in Greek Antiquity for presenting the creation of the world as the work of a divine demiurge. The maker bestows order on sensible things and imitates the world of the intellect by using the Forms as models. While the creation-myth of the Timaeus seems unparalleled, this book argues that it is not the first of Plato’s dialogues to use artistic language to articulate the relationship of the objects of the material world to the world of the intellect. The book adopts an interpretative angle that is sensitive to the visual and art-historical developments of Classical Athens to argue that sculpture, revolutionized by the advent of the lost-wax technique for the production of bronze statues, lies at the heart of Plato’s conception of the relation of the human soul and body to the Forms. It shows that, despite the severe criticism of mimēsis in the Republic, Plato’s use of artistic language rests on a positive model of mimēsis. Plato was in fact engaged in a constructive dialogue with material culture and he found in the technical processes and the cultural semantics of sculpture and of the art of weaving a valuable way to conceptualise and communicate complex ideas about humans’ relation to the Forms.

The book is organized around 4 sections. The first deals with the creativity and its neural basis (responsible editor Emmanuelle Volle). The second section concerns the neurophysiology of aesthetics (responsible editor Zoi Kapoula). It covers a large spectrum of different experimental approaches going from architecture, to process of architectural creation and issues of architectural impact on the gesture of the observer. Neurophysiological aspects such as space navigation, gesture, body posture control are involved in the experiments described as well as questions about terminology and valid methodology. The next chapter contains studies on music, mathematics and brain (responsible editor Moreno Andreatta). The final section deals with evolutionary aesthetics (responsible editor Julien Renoult). Chapter "Composing Music from Neuronal Activity: The Spikiss Project" is available open access under a Creative Commons Attribution-NonCommercial 4.0 International License via link.springer.com.

An interdisciplinary collection of essays exploring the complex and conflicted topic of beauty in cultural, arts and medicine, looking back through the long cultural history of beauty, and asking whether it is possible to 'recover beauty'.

Hailed as "exhilarating and suggestive" (Spectator), "thought-provoking and entertaining" (David Lodge, Sunday Times), and "incisive and inspirational" (Guardian), What Good are the Arts? offers a delightfully skeptical look at the nature of art. John Carey--one of Britain's most respected literary critics--here cuts through the cant surrounding the fine arts, debunking claims that the arts make us better people or that judgments about art are anything more than personal opinion. But Carey does argue strongly for the value of art as an activity and for the superiority of one art in particular: literature. Literature, he contends, is the only art capable of reasoning, and the only art that can criticize. Literature has the ability to inspire the mind and the heart towards practical ends far better than any work of conceptual art. Here then is a lively and stimulating invitation to debate the value of art, a provocative book that "anyone seriously interested in the arts should read" (Michael Dirda, The Washington Post).

Ethical Exchanges in Translation, Adaptation and Dramaturgy examines compelling ethical issues that concern practitioners and scholars in the fields of translation, adaptation and dramaturgy. Its 11 essays, written by academic theorists as well as scholar-practitioners, represent a rich diversity of philosophies and perspectives, and reflect a broad international frame of reference: Asia, Europe, North America, and Australasia. They also traverse a wide range of theatrical forms: classic and contemporary playwrights from Shakespeare to Ibsen, immersive and interactive theatre, verbatim theatre, devised and community theatre, and postdramatic theatre. In examining the ethics of specific artistic practices, the book highlights the significant continuities between translation, adaptation, and dramaturgy; it considers the ethics of spectatorship; and it identifies the tightly interwoven relationship between ethics and politics.

The thoroughly contemporary question of the relationship between emotion and reason was debated with such complexity by the philosophers of the 17th century that their concepts remain a source of inspiration for today's research about the emotionality of the mind. The analyses of the works of Descartes, Spinoza, Leibniz, and many other thinkers collected in this volume offer new insights into the diversity and significance of philosophical reflections about emotions during the early modern era. A focus is placed on affective components in learning processes and the boundaries between emotions and reason.

In Glorious Temples or Babylonic Whores, Anne-Francoise Morel offers an account of the intellectual and cultural history of places of worship in Stuart England. Official documents issued by the Church of England rarely addressed issues regarding the status, function, use, and design of churches; but consecration sermons turn time and again to the conditions and qualities befitting a place of worship in Post-Reformation England. Placing the church building directly in the midst of the heated discussions on the polity and ceremonies of the Church of England, this book recovers a vital lost area of architectural discourse. It demonstrates that the religious principles of church building were enhanced by, and contributed to, scientific developments in fields outside the realm of religion, such as epistemology, the theory of sense perception, aesthetics, rhetoric, antiquarianism, and architecture.

In the Name of Friendship: Deguy, Derrida and "Salut" centres on the relationship between poet Michel Deguy and philosopher Jacques Derrida. Translations of two essays, "Of Contemporaneity" by Deguy and "How to Name" by Derrida, allow Christopher Elson and Garry Sherbert to develop the implications of this singular intellectual friendship. In these thinkers' efforts to reinvent secular forms of the sacred, such as the singularity of the name, and especially poetic naming, Deguy, by adopting a Derridean programme of the impossible, and Derrida, by developing Deguy's ethics of naming through the word "salut," situate themselves at the forefront of contemporary debates over politics and religion alongside figures like Alain Badiou and Jean-Luc Marion, John Caputo and Martin Hagglund.

Is music a language of the emotions? How do recorded pop songs differ from works created for live performance? Is John Cage's silent piece, 4'33", music? Stephen Davies's new book collects some of his most important papers on central topics in the philosophy of music. As well as perennial questions, Davies addresses contemporary controversies, including the impact of modern technology on the presentation and reception of both new and old musical works. These essays, two of them new and previously unpublished, are self-standing but thematically connected, and will be of great interest to philosophers, aestheticians, and to theorists of music and art.

The Bloomsbury Research Handbook of Indian Aesthetics and the Philosophy of Art provides an extensive research resource to the burgeoning field of Asian aesthetics. Featuring leading international scholars and teachers whose work defines the field, this unique volume reflects the very best scholarship in creative, analytic, and comparative philosophy. Beginning with a philosophical reconstruction of the classical rasa aesthetics, chapters range from the nature of art-emotions, tones of thinking, and aesthetic education to issues in film-theory and problems of the past versus present. As well as discussing indigenous versus foreign in aesthetic practices, this volume covers North and South Indian performance practices and theories, alongside recent and new themes including the Gandhian aesthetics of surrender and self-control and the aesthetics of touch in the light of the politics of untouchability. With such unparalleled and authoritative coverage, The Bloomsbury Research Handbook of Indian Aesthetics and the Philosophy of Art represents a dynamic map of comparative cross-cultural aesthetics. Bringing together original philosophical research from renowned thinkers, it makes a major contribution to both Eastern and Western contemporary aesthetics.

Man has always had a weakness for aesthetics, which secretly catch, enchant and seize the attention. Size and colour, form and rhythm affect the desire to say yes or no.
In modern society art is pure and ruthless. But a price has been paid for this freedom: art has become irrelevant.
The opposite of pure art is applied art, which not only must be aesthetically satisfying, but must also fulfil economic, political or religious considerations.

Aesthetic communication explores how organizations use aesthetics. Beginning with an exciting chapter on aesthetic art and applied art it follows with an in-depth analysis of the different fields of organizational aesthetics;
- Image, or the creation of an attractive veil;
- rhetoric, or the use of words to affect people;
- narrative, or the construction of seducing contexts;
- design, or how to impregnate ordinary things with attraction and identity;
- advertisement, or how to insert products in a heavenly world; and
- architecture or how to use buildings to tell about greatness and power.

This philosophical theory of art, addressed to anyone with a serious interest in the arts, has three main objectives: to shift the focus of aesthetics from the question "What is art?" to the question "What is art for?"; to describe the social and historical situation of art today; and to combine aesthetics with poetics and hermeneutics. A distinctive feature of the book is its argument that music exemplifies the current condition of art in a particularly revealing fashion.

Despite the recent upsurge of interest in Theodor Adorno's work, his literary writings remain generally neglected. Yet literature is a central element in his aesthetic theory. Building on the current emergent interest in modern philosophical aesthetics, this book offers a wide-ranging account of the literary components of Adorno's thinking. Bringing together original essays from a distinguished international group of contributors, it offers the reader a user-friendly path through the major areas of Adorno's work in this area. It is divided into three sections, dealing with the concept of literature, with poetry and poetics, and with modernity, drama and the novel respectively. At the same time, the book provides a clear sense of the unique qualities of Adorno's philosophy of literature by critically relating his work to a number of other influential theorists and theories including contemporary postmodernist thought and cultural studies.

In "Eighteenth Century British Aesthetics", editor Dabney Townsend has brought together the work of such well-known writers as John Dryden, Joshua Reynolds, David Hume, and Samuel Johnson with the more obscure works of aestheticians such as Uvedale Price, Daniel Webb, John Baillie, and James Harris, whose work is difficult to find, but is nonetheless important, informative, and interesting. These twenty-two selections, accompanied by Dabney Townsend's historical essay on the development of eighteenth century aesthetics, make the history of aesthetics accessible to both students and specialists alike.

The open access publication of this book has been published with the support of the Swiss National Science Foundation. In this book, Ota Gal presents a new analysis of Plotinus' conception of beauty, beginning from a close reading of treatises I.6 and V.8, which link beauty with the unified multiplicity of Intellect. This account is subsequently placed in a hierarchical and structural context in VI.2 and VI.6 and connected to illumination in VI.7, enabling us to determine the meaning of the predicate "beauty" at different ontological levels. For Plotinus, beauty is ultimately the illuminated unity in multiplicity of Intellect, which, as the manifestation of the Good, simultaneously enables the soul's ascent and threatens to bind the soul to itself.

This text offers a series of critical commentaries on, and forced encounters between, different thinkers. At stake in this philosophical and psychoanalytical enquiry is the drawing of a series of diagrams of the finite/infinite relation, and the mapping out of the contours for a speculative and pragmatic production of subjectivity.

Aesthetics is no longer merely the philosophy of perception and the arts. Nelson Goodman, Arthur Danto and others have contributed to develop aesthetics from a field at the margins of philosophy to one permeating substantial areas of theoretical and practical philosophy. New approaches like environmental and ecological aesthetics widened the understanding of the aesthetics of nature. The contributions in this volume address the most important issues in contemporary aesthetics, many of them from a Wittgensteinian perspective. The 39th International Ludwig Wittgenstein Symposium, organized by the Austrian Ludwig Wittgenstein Society, was held at Kirchberg am Wechsel, Lower Austria, from August 7th to 13th 2016 and aimed at taking an inventory of important tendencies and positions in contemporary aesthetics. The volume includes a selection of the invited papers.

This book provides a unique, philosophical interpretation of a significant twentieth-century painter - Wassily Kandinsky. Michel Henry was one of the leading French philosophers of the twentieth century. His numerous works of philosophy are all organized around the theme of life. In contrast to the scientific understanding of life as a biological process, Henry's philosophy develops a conception of life as an immediate feeling of one's own living."Seeing the Invisible" marks Henry's most sustained engagement in the field of aesthetics. Through an analysis of the life and works of Wassily Kandinsky, Henry uncovers the philosophical significance of Kandinsky's revolution in painting: that abstract art reveals the invisible essence of life. Henry shows that Kandinsky separates colour and line from the constraints of visible form and, in so doing, conveys the invisible intensity of life - a force rooted in the corporeity and pathos of all living beings. More than just a study of art history, this book presents Kandinsky as an artist who is engaged in the project of painting the invisible and thus offers invaluable methodological clues for Henry's own phenomenology of the invisible.