What is the relationship between the sacred and the political, transcendence and immanence, religion and violence? And how has this complex relation affected the history of Western political reason? In this volume an international group of scholars explore these questions in light of mimetic theory as formulated by Rene Girard (1923-2015), one of the most original thinkers of our time. From Aristotle and his idea of tragedy, passing through Machiavelli and political modernity, up to contemporary biopolitics, this work provides an indispensable guide to those who want to assess the thorny interconnections of sacrality and politics in Western political thought and follow an unexplored yet critical path from ancient Greece to our post-secular condition. While looking at the past, this volume also seeks to illuminate the future relevance of the sacred/secular divide in the so-called 'age of globalization'.

'Place in garden, lawn, to beautify landscape.' When Don Featherstone's plastic pink flamingos were first advertised in the 1957 Sears catalogue, these were the instructions. The flamingos are placed on the cover of this book for another reason: to start us asking questions. That's where philosophy always begins. Introducing Aesthetics and the Philosophy of Art is written to introduce students to a broad array of questions that have occupied philosophers since antiquity, and which continue to bother us today-questions like: - Is there something special about something's being art? Can a mass-produced plastic bird have that special something? - If someone likes plastic pink flamingos, does that mean they have bad taste? Is bad taste a bad thing? - Do Featherstone's pink flamingos mean anything? If so, does that depend on what Featherstone meant in designing them? Each chapter opens using a real world example - such as Marcel Duchamp's signed urinal, The Exorcist, and the ugliest animal in the world - to introduce and illustrate the issues under discussion. These case studies serve as touchstones throughout the chapter, keeping the concepts grounded and relatable. With its trademark conversational style, clear explanations, and wealth of supporting features, Introducing Aesthetics and the Philosophy of Art is the ideal introduction to the major problems, issues, and debates in the field. Now expanded and revised for its second edition, Introducing Aesthetics and the Philosophy of Art is designed to give readers the background and the tools necessary to begin asking and answering the most intriguing questions about art and beauty, even when those questions are about pink plastic flamingos.

Historically speaking, our vices, like our virtues, have come in two basic forms: intellectual and moral. One of the main purposes of this book is to analyze a set of specifically political vices that have not been given sufficient attention within political theory but that nonetheless pose enduring challenges to the sustainability of free and equitable political relationships of various kinds. Political vices like hubris, willful blindness, and recalcitrance are persistent dispositions of character and conduct that imperil both the functioning of democratic institutions and the trust that a diverse citizenry has in the ability of those institutions to secure a just political order of equal moral standing, reciprocal freedom, and human dignity. Political vices embody a repudiation of the reciprocal conditions of politics and, as a consequence of this, they represent a standing challenge to the principles and values of the mixed political regime we call liberal-democracy. Mark Button shows how political vices not only carry out discrete forms of injustice but also facilitate the habituation in and indifference toward systemic forms of social and political injustice. They do so through excesses and deficiencies in human sensory and communicative capacities relating to voice (hubris), vision (moral blindness), and listening (recalcitrance). Drawing on a wide range of intellectual resources, including ancient Greek tragedy, social psychology, moral epistemology, and democratic theory, Political Vices gives new consideration to a list of "deadly vices" that contemporary political societies can neither ignore as a matter of personal "sin" nor publicly disregard as a matter of mere bad choice, and it provides a democratic account that outlines how citizens can best contend with our most troubling political vices without undermining core commitments to liberalism or pluralism.

Since the 1980s the number of women regularly directing films has increased significantly in most Western countries: in France, Claire Denis and Catherine Breillat have joined Agnes Varda in gaining international renown, while British directors Lynne Ramsay and Andrea Arnold have forged award-winning careers in feature film. This new volume in the Thinking Cinema series draws on feminist theorists and critics from Simone de Beauvoir on to offer readings of a range of the most important and memorable of these films from the 1990s and 2000s, focusing as it does so on how the films convey women's lives and identities.Mainstream entertainment cinema traditionally distorts the representation of women, objectifying their bodies, minimizing their agency,and avoiding the most important questions about how cinema can 'do justice' to female subjectivity: Kate Ince suggests that the films of independent women directors are progressively redressing the balance, and thereby reinvigorating both the narratives and the formal ambitions of European cinema. Ince uses feminist philosophers to cast a new veil over such films as Sex Is Comedy, Morvern Callar, White Material, and Fish Tank; and includes a timeline ofdevelopments in women's film-making and feminist film theory from 1970 to 2011.

Several presidents have created bioethics councils to advise their administrations on the importance, meaning and possible implementation or regulation of rapidly developing biomedical technologies. From 2001 to 2005, the President's Council on Bioethics, created by President George W. Bush, was under the leadership of Leon Kass. The Kass Council, as it was known, undertook what Adam Briggle describes as a more rich understanding of its task than that of previous councils. The council sought to understand what it means to advance human flourishing at the intersection of philosophy, politics, science, and technology within a democratic society. Briggle's survey of the history of U.S. public bioethics and advisory bioethics commissions, followed by an analysis of what constitutes a "rich" bioethics, forms the first part of the book. The second part treats the Kass Council as a case study of a federal institution that offered public, ethical advice within a highly polarized context, with the attendant charges of inappropriate politicization and policy irrelevance. The conclusion synthesizes the author's findings into a story about the possible relationships between philosophy and policy making. A Rich Bioethics: Public Policy, Biotechnology, and the Kass Council will attract students and scholars in bioethics and the fields of science, technology, and society, as well as those interested in the ethical and political dilemmas raised by modern science.

This book offers a new theoretical framework within which to understand "the mind-body problem". The crux of this problem is phenomenal experience, which Thomas Nagel famously described as "what it is like" to be a certain living creature. David Chalmers refers to the problem of "what-it-is-like" as "the hard problem" of consciousness and claims that this problem is so "hard" that investigators have either just ignored the issue completely, investigated a similar (but distinct) problem, or claimed that there is literally nothing to investigate - that phenomenal experience is illusory. This book contends that phenomenal experience is both very real and very important. Two specific "biological naturalist" views are considered in depth. One of these two views, in particular, seems to be free from problems; adopting something along the lines of this view might finally allow us to make sense of the mind-body problem. An essential read for anyone who believes that no satisfactory solution to "the mind-body problem" has yet been discovered.

Philosophic attention shifted after Hegel from Kant s emphasis on sensibility to criticism and analyses of the fine arts. The arts themselves seemed as ample as nature; a disciplined science could devote as much energy to one as the other. But then the arts began to splinter because of new technologies: photography displaced figurative painting; hearing recorded music reduced the interest in learning to play it. The firm interiority that Hegel assumed was undermined by the speed, mechanization, and distractions of modern life. We inherit two problems: restore quality and conviction in the arts; cultivate the interiority the sensibility that is a condition for judgment in every domain. What is sensibility s role in experiences of every sort, but especially those provoked when art is made and enjoyed?"

What is the relation between our selfhood and appearing? Our embodiment positions us in the world, situating us as an object among its visible objects. Yet, by opening and shutting our eyes, we can make the visible world appear and disappear-a fact that convinces us that the world is in us. Thus, we have to assert with Merleau-Ponty that we are in the world that is in us: the two are intertwined. Author James Mensch employs the insights of Jan Patocka's asubjective phenomenology to understand this double relationship of being-in. In this volume, he shows how this relation constitutes the reality of our selfhood, shaping our social and political interactions as well as the violence that constantly threatens to undermine them.