Dialogue and the New Cosmopolitanism: Conversations with Edward Demenchonok stands in opposition to the doctrine that might makes right and that the purpose of politics is to establish domination over others rather than justice and the good life for all. In the pursuit of the latter goal, the book stresses the importance of dialogue with participants who take seriously the views and interests of others and who seek to reach a fair solution. In this sense, the book supports the idea of cosmopolitanism, which-by contrast to empire-involves multi-lateral cooperation and thus the quest for a just cosmopolis. The international contributors to this volume, with their varied perspectives, are all committed to this same quest. Edited by Fred Dallmayr, the chapters take the form of conversations with Edward Demenchonok, a well-known practitioner of international and cross-cultural philosophy. The conversations are structured in parts that stress the philosophical, anthropological, cultural, and ethical dimensions of global dialogue. In our conflicted world, it is inspiring to find so many authors from different places agreeing on a shared vision.

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.

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'.

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.

The German-Austrian social theorist and philosopher Leo Kofler (1907-1995) represents what Oskar Negt once called 'unmutilated, living Marxism'. Throughout his life he dealt with issues of history and modernity, Marxist philosophy and the critique of ideology, philosophical anthropology and aesthetics. In this volume, author and Kofler biographer Christoph Junke elucidates the contours of his philosophy of praxis, traces an arc from the socialist classics to postmodernism, and outlines the socialist humanist thinker's enduring relevance. The book also includes six essays by Leo Kofler published in English for the first time. The main work was first published in German as Leo Koflers Philosophie der Praxis: Eine Einfuhrung in sein Denken by Laika Verlag, 2015, ISBN 978-944233-33-8. Copyright by Laika Verlag.

'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.

A new wave of thinkers from across different disciplines within the analytical tradition in philosophy has recently focused on critical, societal challenges, such as the silencing and questioning of the credibility of oppressed groups, the political polarization that threatens the good functioning of democratic societies across the globe, or the moral and political significance of gender, race, or sexual orientation. Appealing to both well-established and younger international scholars, this volume delves into some of the most relevant problems and discussions within the area, bringing together for the first time different essays within what we deem to be a "political turn in analytic philosophy." This political turn consists of putting different conceptual and theoretical tools from epistemology, philosophy of language, philosophy of mind, and metaphysics at the service of social and political change. The aim is to ensure a better understanding of some of the key features of our social environments in an attempt to achieve a more just and equal society.

In The Sequential Imperative William Edmondson explains how deep study of linguistics - from phonetics to pragmatics - can be the basis for understanding the organization of behaviour in any organism with a brain. The work demonstrates that Cognitive Science needs to be anchored in a linguistic setting. Only then can Cognitive Scientists reach out to reconsider the nature of consciousness and to appreciate the functionality of all brains. The core functionality of the brain - any brain, any species, any time - is delivery and management of the unavoidable bi-directional transformation between brain states and activity - the Sequential Imperative. Making it all work requires some general cognitive principles and close attention to detail. The book sets out the case in broad terms but also incorporates significant detail where necessary.

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.