"This is the first volume of its kind to analyze the impact that theories and practices of imaging have had on a variety of fields. It draws on an impressive range of philosophical approaches, from analytic, to pragmatic, to phenomenological -- concluding that imaging is developing a social and cultural impact comparable to language"--Provided by publisher.

Pynchon and Philosophy radically reworks our readings of Thomas Pynchon alongside the theoretical perspectives of Wittgenstein, Foucault and Adorno. Rigorous yet readable, Pynchon and Philosophy seeks to recover philosophical readings of Pynchon that work harmoniously, rather than antagonistically, resulting in a wholly fresh approach. Dr. Martin Paul Eve is a lecturer in literature at the University of Lincoln, UK. In addition to editing the open access journal of Pynchon Studies, Orbit, he has work published or forthcoming in Textual Practise, Neo-Victorian Studies, C21, Pynchon Notes and several edited collections. This book was originally published with exclusive rights reserved by the Publisher in (2014) and was licensed as an open access publication in [SEPTEMBER 2021] under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license if changes were made. This is an open access book.

This impressive volume of essays that includes contributions from Herbert Dreyfus, Sean Kelly, Mike Wheeler, Dan Zahavi, and Shaun Gallagher reflects an emerging trend in cognitive science, and explores this new approach to cognitive science informed by Heidegger's thoughts on human existence.

This book is the first volume to bring together the most prominent scholars who work on Slavoj i ek's philosophy, examining and interrogating his understanding of dialectical materialism. It deserves to be thoroughly and systematically elaborated because it attempts to propose a new foundation for dialectical materialism.

In this remarkable book, Joseph Margolis, one of America's leading and most celebrated philosophers, examines the relationship between two apparently contradictory philosophical tendencies - realism and relativism. In order to examine the relationship between the two, Margolis establishes a taxonomy of different kinds of realism and different kinds of relativism. Drawing on both the analytic and Continental traditions, he examines (from a pragmatic point of view) the various relationships between these two tendencies in the light of two major developments in modern philosophy - the concern for praxis and the concern for historicity. Twenty years after it was first published to great acclaim, Margolis has updated "Pragmatism Without Foundations" in the light of his most recent work and the development of pragmatism in the intellectual world. This second edition includes an updated preface and a brand new epilogue addressing these developments and their implications for his earlier work.

Crossing the boundaries between 'continental' and 'analytic' philosophical approaches, this book proposes a naturalistic revision of the mathematical ontology of Alain Badiou, establishing links with structuralist projects in the philosophy of science and mathematics.

Nicholas Rescher has enjoyed a long and distinguished career in philosophy, writing on many different areas from logic to philosophy of language, epistemology, pragmatism, ethics and political philosophy, and metaphilosophy. Reason, Method, and Value: A Reader on the Philosophy of Nicholas Rescher offers a selection of Rescher's writings over a span of decades representing the core of his prodigious research interests in six key areas. Each section of the *Reader* is accompanied by a compact critical introduction written by a leading philosophical scholar with spezial expertise in Rescher's philosophy, and the volume opens with an appreciative introduction written by the editor and a concluding retrospective by Rescher, looking back over his oeuvre and explaining connecting themes and the unity of system contained in this extensive body of work. Taken together, the volume encapsulates the heart of Rescher's impressive lifelong contributions to philosophy between two covers, in a single volume that provides a solid overview of his thought while serving to direct readers to the corpus of Rescher's writings for amore complete picture.

A world ever more extensively interlinked is calling out for serving human interests broader and more compelling than those inspiring our technological welfare. The interface between cultures - at the moment especially between the Occident and Islam - presents challenges to mutual understandings and calls for restoring the resources of our human beings forgotten in the struggle of competition and rivalry at the vital spheres of existence. In the evolutionary progress of the living beings the strictly vital concerns, emotions, attributes become sublimed and elevated to the spiritual sphere at which human beings encounter each other and share. Studies presented here bring forth sublimity, generosity, forgiveness, beauty, and are exalting the quest after ciphers and symbols which lead to our sharing the common deepest stream of fraternal reality.

"Hegel and scepticism" remains an intriguing topic directly concerning the logical and methodological core of Hegel's system. A series of contributions is unfolding around a keynote paper by Klaus Vieweg, which tries to understand and restate the limits and the content of the relationship between Hegels philosophy and scepticism. Various Hegel readers with different concerns are dealing with Hegel's strategy in a large range of theoretical areas.

Written by an experienced drummer and philosopher, "Groove" is a vivid and exciting study of one of music's most central and relatively unexplored aspects. Tiger C. Roholt explains why grooves, which are forged in music's rhythmic nuances, remain hidden to some listeners. He argues that grooves are not graspable through the intellect nor through mere listening; rather, grooves are disclosed through our "bodily "engagement with music. We grasp a groove bodily by moving with music's pulsations. By invoking the French philosopher Maurice Merleau-Ponty's notion of "motor intentionality," Roholt shows that the "feel" of a groove, and the understanding of it, are two sides of a coin: to "get" a groove just is to comprehend it bodily and to feel that embodied comprehension.

This volume illustrates the relevance of phenomenology to a range of contemporary concerns. Displaying both the epistemological rigor of classical phenomenology and the empirical analysis of more recent versions, its chapters discuss a wide range of issues from justice and value to embodiment and affectivity. The authors draw on analytic, continental, and pragmatic resources to demonstrate how phenomenology is an important resource for questions of personal existence and social life. The book concludes by considering how the future of phenomenology relates to contemporary philosophy and related academic fields.

Tapping a rich vein of phenomenological and post-phenomenological approaches to film, this book explores how moving images are 'experienced' and 'encountered' as well as 'read' and 'viewed'. Jenny Chamarette brings theorizations of phenomenology from philosophy, psychology and anthropology, to four close studies of experimental and avant-garde moving image works by internationally recognized and widely studied contemporary French filmmakers, whose cinematic production spans the 1950s to the present day. Acknowledging the shifting ground of the cinematic across multiple media and geographies, from 35mm feature film, to video-tape, to projected installation and digital video, this volume asks how phenomenological approaches to film can help us to rethink the relationship of subjectivity to our future cinematic world.

New Waves in Philosophy of Science captures the diverse array of issues in the rapidly developing area of philosophy of science by bringing together a pool of talented young philosophers from across the globe to debate the field and show where it's heading.

Braiding together strands of literary, phenomenological and art historical reflection, Modernism and Phenomenology explores the ways in which modernist writers and artists return us to wonder before the world. Taking such wonder as the motive for phenomenology itself, and challenging extant views of modernism that uphold a mind-world opposition rooted in Cartesian thought, the book considers the work of modernists who, far from presenting perfect, finished models for life and the self, embrace raw and semi-chaotic experience. Close readings of works by Paul Cezanne, Gertrude Stein, Franz Kafka, Gerard Manley Hopkins, Wallace Stevens, Paul Klee, and Virginia Woolf explore how modernist texts and artworks display a deep-rooted openness to the world that turns us into "perpetual beginners." Pushing back against ideas of modernism as fragmentation or groundlessness, Mildenberg argues that this openness is less a sign of powerlessness and deferred meaning than of the very provisionality of experience.

This book examines the various encounters between Jean-Luc Marion and Jacques Derrida on "the gift," considers their many differences on "desire," and demonstrates how these topics hold the keys to some of phenomenology's most pressing structural questions, especially regarding "deconstructive" approaches within the field. The book claims that the topic of desire is a central lynchpin to understanding the two thinkers' conflict over the gift, for the gift is reducible to the "desire to give," which initiates a turn to the topic of "generosity." To what degree might loving also imply giving? How far might it be suggested that love is reducible to desire and intentionality? It is demonstrated how Derrida (the generative "father" of deconstruction) rejects the possibility of any potential relation between the gift and desire on the account that desire is bound to calculative repetition, economical appropriation, and subject-centered interests that hinder deconstruction. Whereas Marion (a representative of the phenomenological tradition) demands a unique union between the gift and desire, which are both represented in his "reduction to givenness" and "erotic reduction." The book is the first extensive attempt to contextualize the stark differences between Marion and Derrida within the phenomenological legacy (Husserl, Heidegger, Kant), supplies readers with in-depth accounts of the topics of the gift, love, and desire, and demonstrates another means through which the appearing of phenomena might be understood, namely, according to the generosity of things.

This book offers a definition of the fantastic that establishes it as a discourse in constant intertextual relation with the construct of reality. In establishing the definition of the fantastic, leading scholar David Roas selects four central concepts that allow him to chart a fairly clear map of this terrain: reality, the impossible, fear, and language. These four concepts underscore the fundamental issues and problems that articulate any theoretical reflection on the fantastic: its necessary relationship to an idea of the real, its limits, its emotional and psychological effects on the receiver and the transgression of language that is undertaken when attempting to express what is, by definition, inexpressible as it is beyond the realms of the conceivable. By examining such concepts, the book explores multiple perspectives that are clearly interrelated: from literary and comparative theory to linguistics, via philosophy, science and cyberculture.

Cefalu offers the first sustained assessment of the ways in which recent contemporary philosophy and cultural theory -- including the work of Giorgio Agamben, Alain Badiou, Eric Santner, Slavoj Zižek, and Alenka Zupancic -- can illuminate Early Modern literature and culture. The book argues that when selected Early Modern devotional poets set out to represent subject-God relations, they often encounter some sublime aspect of God that, in Slovenian-Lacanian terms, seems "Other" to himself. This divine Other, while sometimes presented directly as a void or empty place, is more often filled in and presented instead as some form of divine excess. While Donne, and to a lesser extent Traherne, disavow those numinous aspects of God that might subsist beneath such excesses, Crashaw, and especially Milton, attempt to represent the intimate relationship between any creature's and God's intrinsic alterity. Cefalu introduces new ways of theorizing not only seventeenth-century religious ideologies, but also the nature of Early Modern subjectivity.

This highly personal account of a lifetime's spiritual and philosophical enquiry charts the author's journey of faith through contemporary culture. Distinguishing between what she posits as the 'universal' and the 'rhapsodic' "logos," Tymieniecka interrogates concepts as varied as creativity and the media, joy and suffering, and truth and ambiguity. She contemplates the possibilities and limits of communication between human beings, and outlines what she calls the 'transnatural destiny' of the human soul.

The book asserts that unlike theory, which unfolds a logical continuity, and unlike dialogue, which is directed sequentially upward toward intellectual conclusions, the mode of reflection of the 'rhapsodic logos' imposes no limits or caps upon its understanding. Instead, the 'logoic' flow interlaces the rhapsodic cadences of our reflections on reality, in all their innumerable fluctuations, and sifts them to mold the intimate mind/soul inwardness that we experience as faith.

The radiative meditations of this 'rhapsodic logos' weave their way through the entanglements of the mystery of incarnation, the constitutive archetypes, the inwardly sacred, the transnatural destiny of the soul, and finally ascend the rhapsodic scales toward culminating faith in the Christo-Logos."

Any message requires a medium, but because media can be speeded up and made more efficient, we also regard them as obstacles in the way of more effective communication. Media are both means and hinderance and this leads to a number of important and difficult problems that cross the borders of media theory and philosophy:

• Can media produce immediacy?
• What must mediation be if it doesn't go away?
• Why is there is always a middle?
• Can the means be considered independently of the content that passes through them?

This collection offers the first comprehensive and definitive account of Martin Heidegger's philosophy of technology. It does so through a detailed analysis of canonical texts and recently published primary sources on two crucial concepts in Heidegger's later thought: Gelassenheit and Gestell. Gelassenheit, translated as 'releasement', and Gestell, often translated as 'enframing', stand as opposing ideas in Heidegger's work whereby the meditative thinking of Gelassenheit counters the dangers of our technological framing of the world in Gestell. After opening with a scholarly overview of Heidegger's philosophy of technology as a whole, this volume focuses on important Heideggerian critiques of science, technology, and modern industrialized society as well as Heidegger's belief that transformations in our thought processes enable us to resist the restrictive domain of modern techno-scientific practice. Key themes discussed in this collection include: the history, development, and defining features of modern technology; the relationship between scientific theories and their technological instantiations; the nature of human agency and the essence of education in the age of technology; and the ethical, political, and environmental impact of our current techno-scientific customs. This volume also addresses the connection between Heidegger's critique of technology and his involvement with the Nazis. Finally, and with contributions from a number of renowned Heidegger scholars, the original essays in this collection will be of great interest to students of Philosophy, Technology Studies, the History of Science, Critical Theory, Environmental Studies, Education, Sociology, and Political Theory.

Joseph 1. Kockelmans Pennsylvania State University In July of 1999, Prof. Dr. Thomas M. Seebohm turned 65 years old, and thus en tered mandatory retirement. His friends, colleagues, and former students thought that it would be fitting to celebrate the event of his retirement with a volume of essays in his honor, in order to render homage to a great human being, an outstanding and dedicated teacher, a highly regarded philosopher and scholar, but above all a dear friend and colleague. When the editors thought about a unifying theme for the anthology, they finally settled on the research interests of Professor Seebohm; in their view the vast do main of his competence and interests would leave all participants the freedom to select a topic of their own choice that would nonetheless lie within this large realm as well as within the area of their own research interests. Professor Seebohm's research interests encompass work in Phenomenology, Hermeneutics, German Idealism (Kant in particular), History of Philosophy, Phi losophy of the formal sciences (of Logic in particular), Philosophy of History, Methodology and Philosophy of the Human Sciences, (including Psychology and Sociology), History of 19th Century British Empiricism (Mill), American Pragma tism, Analytic Philosophy, Philosophy of Law and Practical Philosophy, the devel opment of the history of philosophy in Eastern Europe, especially in the Middle Ages, but also in the nineteenth century."

The digital age we now live in is fundamentally changing how we relate to our perceptions and images. Daniel O'Shiel provides the first comprehensive phenomenology of virtual technology in order to show how the previously well-established experiential lines and structures between three basic categories of phenomenal experience - our everyday perceptions of reality; our everyday fantasies of irreality; and our everyday engagements with external images, not least digital ones - are becoming blurred, inverted or are even collapsing in a new era where a specific type of virtuality is coming to the fore. O'Shiel examines in depth just what this means for the phenomenology behind it, as well as the concrete practical consequences going forward. The work is divided into two main parts. In the first O'Shiel fully investigates the phenomenological natures of perception and imagination through close textual analyses of the relevant works by Edmund Husserl, Eugen Fink and Jean-Paul Sartre. In each phenomenologist perception and imagination are ultimately seen as different in kind, although the dividing line differs, especially with reference to a middle category of 'image-consciousness' (Bildbewusstsein). This first part argues for basic phenomenological differences between perceptions; physical and external images; and more mental imagery, while also allowing for a more general gradation between them. The second part then applies these theoretical findings to some of the most influential 'virtual technologies' today - social media; online gaming; and some virtual, augmented and mixed reality technologies - in order to show how previously clear categories of real and irreal, present and absent, genuine and fake, and even true and false, are becoming less so.

Theatres of Immanence: Deleuze and the Ethics of Performance is the first monograph to provide an in-depth study of the implications of Gilles Deleuze's philosophy for theatre and performance. Engaging with a wide range of interdisciplinary practitioners including Goat Island, Butoh, Artaud, John Cage, the Living Theatre, Robert Wilson and Allan Kaprow, as well as with the philosophies of Deleuze and Guattari, Henri Bergson and Francois Laruelle, the book conceives performance as a way of thinking 'immanence': the open and endlessly creative whole of which all things are a part.
Theatres of Immanence builds upon Deleuze's emphasis on immanence, affect, change and movement to provide new approaches to five key topics in theatre and performance: 1) authorship and collaboration, 2) voice and language, 3) animals in performance, 4) audience participation and 5) time or duration. The book provides an accessible introduction to Deleuze's ideas and draws attention to the ethical dimensions of performance, asking: 'what good is theatre, and particularly immanent theatre, anyway?'