Self-reflection is fundamental for human thinking on many levels. Philosophy has described the mind's capacity to observe itself as a core element of human existence. Political and social sciences have shown how modern democracies depend on society's ability to critically reflect on their own values and practices. And literature of all ages has proven self-reflexivity to be a crucial trait of cultural production. This volume provides the first diachronic panorama of genres, forms, and functions of literary self-reflection and their connections with social, political and philosophical discourses from the 17th century to the present. Far beyond the usual focus on postmodernist opacity, these contributions present a rich tradition of critical transparency: Literary texts that show us what is behind and beyond them.

A fascinating introduction to social justice by one of the most effective teachers and preachers in the English-speaking world.

Timbre is among the most important and the most elusive aspects of music. Visceral and immediate in its sonic properties, yet also considered sublime and ineffable, timbre finds itself caught up in metaphors: tone "color", "wet" acoustics, or in Schoenberg's words, "the illusory stuff of our dreams." This multi-disciplinary approach to timbre assesses the acoustic, corporeal, performative, and aesthetic dimensions of tone color in Western music practice and philosophy. It develops a new theorization of timbre and its crucial role in the epistemology of musical materialism through a vital materialist aesthetics in which conventional binaries and dualisms are superseded by a vibrant continuum. As the aesthetic and epistemological questions foregrounded by timbre are not restricted to isolated periods in music history or individual genres, but have pervaded Western musical aesthetics since early Modernity, the book discusses musical examples taken from both "classical" and "popular" music. These range, in "classical" music, from the Middle Ages through the Baroque, the belcanto opera and electronic music to saturated music; and, in "popular" music, from indie through soul and ballad to dark industrial.

Rear-view mirrors are not normal scientific equipment, nor are philosophers all that keen to recall a partly embarrassing past. But looking back can cure a self-induced narrowing of the modern scientific mind and help us to renew a sense of where, if anywhere, we might feel we belong in the world. Today, a centuries-long belief in the primacy of a first-personal perspective has given way to an opposite view that what passes through the conscious mind has little to do with who we are and what we are doing. A lifelong campaigner for the first-personal perspective, Alastair Hannay presents here a powerful and historically framed case for restoring faith in its status as a provider of important truths about ourselves.

Ibn Wasil (d. 1298), perhaps better known today as a historian and an emissary to the court of King Manfred in southern Italy, was also an eminent logician. The present work is a critical edition of his main work in the field, a commentary on his teacher Khunaji's (d. 1248) handbook al-Jumal. The work helped consolidate the logic of the "later scholars" (such as Khunaji). It also shows that commentators did much more than merely explain the original work and instead regularly discussed and assessed received views. Ibn Wasil's work was an influential contribution to a particularly dynamic chapter in the history of Arabic logic.

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.

Reading Augustine is a new line of books offering personal readings of St. Augustine of Hippo from leading philosophers and religious scholars. The aim of the series is to make clear Augustine's importance to contemporary thought and to present Augustine not only or primarily as a pre-eminent Christian thinker but as a philosophical, spiritual, literary and intellectual icon of the West. Why did the ancients come to adopt monotheism and Christianity? On God, The Soul, Evil and the Rise of Christianity introduces possible answers to that question by looking closely at the development of the thought of Augustine of Hippo, whose complex spiritual trajectory included Gnosticism, academic skepticism, pagan Platonism, and orthodox Christianity. What was so compelling about Christianity and how did Augustine become convinced that his soul could enter into communion with a transcendent God? The apparently sudden shift of ancient culture to monotheism and Christianity was momentous, defining the subsequent nature of Western religion and thought. John Peter Kenney shows us that Augustine offers an unusually clear vantage point to understand the essential ideas that drove that transition.

The Futility of Philosophical Ethics puts forward a novel account of the grounds of moral feeling with fundamental implications for philosophical ethics. It examines the grounds of moral feeling by both the phenomenology of that feeling, and the facts of moral feeling in operation - particularly in forms such as moral luck, vicious virtues, and moral disgust - that appear paradoxical from the point of view of systematic ethics. Using an analytic approach, James Kirwan engages in the ongoing debates among contemporary philosophers within metaethics and normative ethics. Instead of trying to erase the variety of moral responses that exist in philosophical analysis under one totalizing system, Kirwan argues that such moral theorizing is futile. His analysis counters currently prevalent arguments that seek to render the origins of moral experience unproblematic by finding substitutes for realism in various forms of noncognitivism. In reasserting the problematic nature of moral experience, and offering a theory of the origins of that experience in unavoidable individual desires, Kirwan accounts for the diverse manifestations of moral feeling and demonstrates why so many arguments in metaethics and normative ethics are necessarily irresolvable.