Comparing is one of the most essential practices, in our everyday life as well as in science and humanities. In this in-depth philosophical analysis of the structure, practice and ethics of comparative procedures, Hartmut von Sass expands on the significance of comparison. Elucidating the ramified structure of comparing, von Sass suggests a typology of comparisons before introducing the notion of comparative injustice and the limits of comparisons. He elaborates on comparing as practice by relating comparing to three relative practices - orienting, describing, and expressing oneself - to unfold some of the most important chapters of what might be called comparativism. This approach allows von Sass to clarify the idea of the incomparable, distinguish between different versions of incomparability and shed light on important ethical aspects of comparisons today. Confronting the claim that we are living in an age of comparisons, his book is an important contribution to ideas surrounding all-encompassing measurements and scalability and their critique.

This book brings together over 25 years of Arindam Chakrabarti's original research in philosophy on issues of epistemology, metaphysics, and philosophy of mind. Organized under the three basic concepts of a thing out there in the world, the self who perceives it, and other subjects or selves, his work revolves around a set of realism links. Examining connections between metaphysical stances toward the world, selves, and universals, Chakrabarti engages with classical Indian and modern Western philosophical approaches to a number of live topics including the refutation of idealism; the question of the definability of truth, and the possibility of truths existing unknown to anyone; the existence of non-conceptual perception; and our knowledge of other minds. He additionally makes forays into fundamental questions regarding death, darkness, absence, and nothingness. Along with conceptual clarification and progress towards alternative solutions to these substantial philosophical problems, Chakrabarti demonstrates the advantage of doing philosophy in a cosmopolitan fashion. Beginning with an analysis of the concept of a thing, and ending with an analysis of the concept of nothing, Realisms Interlinked offers a preview of a future metaphysics, epistemology, and philosophy of mind without borders.

Wilfrid Sellars, Idealism, and Realism is the first study of its kind to address a range of realist and idealist views inspired by psychological nominalism. Bringing together premier analytic realists and distinguished defenders of German idealism, it reveals why psychological nominalism is one of the most important theories of the mind to come out the 20th century. The theory, first put forward by Wilfrid Sellars, argues that language is the only means by which humans can learn the types of socially shared practices that permit rationality. Although wedded to important aspects of German idealism, Sellars' theory is couched in bold realist terms of the analytic tradition. Those who are sympathetic to German idealism find this realist's appropriation of German idealism problematic. Wilfrid Sellars, Idealism and Realism thus creates a rare venue for realists and idealists to debate the epistemic outcome of the mental processes they both claim are essential to experience. Their resulting discussion bridges the gap between analytic and continental philosophy. In providing original and accessible chapters on psychological nominalism, this volume raises themes that intersect with numerous disciplines: the philosophy of mind, philosophy of language, epistemology, and metaphysics. It also provides clarity on arguably the best available account of why humans can reason, be self-aware, know, and act as agents.

Beauty and the End of Art shows how a resurgence of interest in beauty and a sense of ending in Western art are challenging us to rethink art, beauty and their relationship. By arguing that Wittgenstein's later work and contemporary theory of perception offer just what we need for a unified approach to art and beauty, Sonia Sedivy provides new answers to these contemporary challenges. These new accounts also provide support for the Wittgensteinian realism and theory of perception that make them possible. Wittgenstein's subtle form of realism explains artworks in terms of norm governed practices that have their own varied constitutive norms and values. Wittgensteinian realism also suggests that diverse beauties become available and compelling in different cultural eras and bring a shared 'higher-order' value into view. With this framework in place, Sedivy argues that perception is a form of engagement with the world that draws on our conceptual capacities. This approach explains how perceptual experience and the perceptible presence of the world are of value, helping to account for the diversity of beauties that are available in different historical contexts and why the many faces of beauty allow us to experience the value of the world's perceptible presence. Carefully examining contemporary debates about art, aesthetics and perception, Beauty and the End of Art presents an original approach. Insights from such diverse thinkers as Immanuel Kant, Hans-Georg Gadamer and Arthur Danto, Alexander Nehamas, Elaine Scarry and Dave Hickey are woven together to reveal how they make good sense if we bring contemporary theory of perception and Wittgensteinian realism into the conversation.