Robin George Collingwood (1889-1943) was one of the most important philosophers of the 20th century, with his work spanning theory of knowledge, metaphysics, philosophy of art, philosophy of history, and social and political philosophy. The full range and reach of Collingwood's philosophical thought is covered by Peter Skagestad in this study. Following Collingwood's education and his Oxford career, Skagestad considers his relationship with prominent Italian philosophers Croce and De Ruggiero and the British idealists. Taking Collingwood's publications in order, he explains under what circumstances they were produced and the reception of his work by his contemporaries and by posterity, from Religion and Philosophy (1916) and Speculum Mentis (1923) to the posthumously published The Idea of History (1946). Featuring full coverage of Collingwood's philosophy of art, Skagestad also considers his argument, in response to A. J. Ayer, that metaphysics is the historical study of absolute presuppositions. Most importantly, Skagestad reveals how relevant Collingwood is today, through his concept of barbarism as a perceptive diagnosis of totalitarianism and his prescient warning of the rise of populism in the 21st century.

Humanists have been a major force in British life since the turn of the 20th century. Here, leading historians of religious non-belief Callum Brown, David Nash, and Charlie Lynch examine how humanist organisations brought ethical reform and rationalism to the nation as it faced the moral issues of the modern world. This book provides a long overdue account of this dynamic group. Developing through the Ethical Union (1896), the Rationalist Press Association (1899), the British Humanist Association (1963) and Humanists UK (2017), Humanists sought to reduce religious privilege but increase humanitarian compassion and human rights. After pioneering legislation on blasphemy laws, dignity in dying and abortion rights, they went on to help design new laws on gay marriage, and sex and moral education. Internationally, they endeavoured to end war and world hunger. And with Humanist marriages and celebration of life through Humanist funerals, national ritual and culture have recently been transformed. Based on extensive archival and oral-history research, this is the definitive history of Humanists as an ethical force in modern Britain.

This book recovers Dionysus and Apollo as the twin conceptual personae of life’s dual rhythm in an attempt to redesign contemporary theory through the reciprocal affirmation of event and form, earth and world, dance and philosophy. It revisits Heidegger and Lévi-Strauss, and combines them with Roy Wagner, with the purpose of moving beyond Nietzsche’s manifold legacy, including post-structuralism, new materialism, and speculative realism. It asks whether merging philosophy and anthropology around issues of comparative ontologies may give us a chance to re-become earthbound dwellers on a re-worlded earth.

Bringing Jean Genet and Jacques Lacan into dialogue, James Penney examines the overlooked similarities between Genet's literary oeuvre and Lacanian psychoanalysis, uncovering in particular their shared ontology of fragility and incompletion. This book exposes the two thinkers' joint and unwavering ontological conviction that the representations that make up the world of appearances are inherently enigmatic: inscrutable, not only on the level of their problematic link to knowledge and meaning, but also, more fundamentally, as concerns the reliability of their existence. According to Genet and Lacan, the signification of words and images will forever remain unfulfilled, just like the whole of reality, as if prematurely removed from the oven, under-baked. Genet, Lacan and the Ontology of Incompletion reveals how, in the same manner as Lacan's psychoanalytic act, Genet's acts of poetry further seek to expose the fragile prop that holds our reality together, baring the fissures in being for which fantasy normally compensates. Moving away from scholarship that considers Genet's plays, novels, sexuality and politics in isolation, Penney explores the whole span of Genet's work, from his early novels to the posthumously-published Prisoner of Love and, combining this with psychoanalysis, opens up new avenues for thinking about Genet, Lacan and our wanting being.

Pop art has traditionally been the most visible visual art within popular culture because its main transgression is easy to understand: the infiltration of the "low" into the "high". The same cannot be said of contemporary art of the 21st century, where the term "Gaga Aesthetics" characterizes the condition of popular culture being extensively imbricated in high culture, and vice-versa. Taking Adorno and Horkheimer's "The Culture Industry" and Adorno's Aesthetic Theory as key touchstones, this book explores the dialectic of high and low that forms the foundation of Adornian aesthetics and the extent to which it still applied, and the extent to which it has radically shifted, thereby 'upending tradition'. In the tradition of philosophical aesthetics that Adorno began with Lukacs, this explores the ever-urgent notion that high culture has become deeply enmeshed with popular culture. This is "Gaga Aesthetics": aesthetics that no longer follows clear fields of activity, where "fine art" is but one area of critical activity. Indeed, Adorno's concepts of alienation and the tragic, which inform his reading of the modernist experiment, are now no longer confined to art. Rather, stirring examples can be found in phenomena such as fashion and music video. In addition to dealing with Lady Gaga herself, this book traverses examples ranging from Madonna's Madam X to Moschino and Vetements, to deliberate on the strategies of subversion in the culture industry.