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This cutting-edge handbook brings together an international roster
of scholars to examine many facets of comics and graphic novels.
Contributor essays provide authoritative, up-to-date overviewsof
the major topics and questions within comic studies, offering
readers a truly global approach to understanding the field. Essays
examine: the history of the temporal, geographical, and formal
development of comics, including topics like art comics, manga,
comix, and the comics code; issues such as authorship, ethics,
adaptation, and translating comics; connections between comics and
other artistic media (drawing, caricature, film) as well as the
linkages between comics and other academic fields like linguistics
and philosophy; new perspectives on comics genres, from funny
animal comics to war comics to romance comics and beyond. The
Routledge Companion to Comics expertly organizes representative
work from a range of disciplines, including media and cultural
studies, literature, philosophy, and linguistics. More than an
introduction to the study of comics, this book will serve as a
crucial reference for anyone interested in pursuing research in the
area, guiding students, scholars, and comics fans alike.
This cutting-edge handbook brings together an international roster
of scholars to examine many facets of comics and graphic novels.
Contributor essays provide authoritative, up-to-date overviewsof
the major topics and questions within comic studies, offering
readers a truly global approach to understanding the field. Essays
examine: the history of the temporal, geographical, and formal
development of comics, including topics like art comics, manga,
comix, and the comics code; issues such as authorship, ethics,
adaptation, and translating comics; connections between comics and
other artistic media (drawing, caricature, film) as well as the
linkages between comics and other academic fields like linguistics
and philosophy; new perspectives on comics genres, from funny
animal comics to war comics to romance comics and beyond. The
Routledge Companion to Comics expertly organizes representative
work from a range of disciplines, including media and cultural
studies, literature, philosophy, and linguistics. More than an
introduction to the study of comics, this book will serve as a
crucial reference for anyone interested in pursuing research in the
area, guiding students, scholars, and comics fans alike.
Once Upon a Time is a collection of essays in the philosophy of
literature with two central themes: the significance of story
–telling for us and the question of whether the novel, perhaps
the art form most closely associated with story-telling, is a
legitimate source of human knowledge. Leading philosopher of art
Peter Kivy explores why human beings are so enthralled by being
told stories and whether story-telling is a significant source of
knowledge. Starting with a study of Aristotle's Poetics, Kivy then
undertakes a critical discussion of Noel Carroll's suggestion that
our interaction with the artists of the past is a kind of
"conversation." He goes on to defend the thesis that one of the
legitimate artistic pleasures we take in novel-reading is the
acquiring of knowledge and, furthermore, that the silent reading of
a novel is a kind of performance, making the novel one of the
performing arts. The volume concludes with a chapter about jokes,
and, in particular, whether it is immoral to tell or be amused by
an "immoral" joke. This volume of essays is a must-read for anyone
seriously interested in literature and the conceptual problems it
may raise for philosophers.
Musical listening, looking at paintings and literary creation are
activities that involve perceptual and cognitive activity and so
are of interest to psychologists and other scientists of the mind.
What sorts of interest should philosophers of the arts take in
scientific approaches to such issues? Opinion currently ranges
across a spectrum, with 'take no notice' at one end and 'abandon
traditional philosophical methods' at the other. This collection of
essays, originating in a Royal Institute of Philosophy conference
at the Leeds Art Gallery in 2012, represents many of the most
interesting positions along that spectrum. Contributions address
issues concerning aesthetic testimony, the processing and
appreciation of poetry, the aesthetics of disgust, imagination,
genre, evolutionary constraints on art appreciation, creativity,
musical cognition and the limitations or productiveness of
empirical enquiry for philosophical aesthetics.
Once Upon a Time is a collection of essays in the philosophy of
literature with two central themes: the significance of story
–telling for us and the question of whether the novel, perhaps
the art form most closely associated with story-telling, is a
legitimate source of human knowledge. Leading philosopher of art
Peter Kivy explores why human beings are so enthralled by being
told stories and whether story-telling is a significant source of
knowledge. Starting with a study of Aristotle's Poetics, Kivy then
undertakes a critical discussion of Noel Carroll's suggestion that
our interaction with the artists of the past is a kind of
"conversation." He goes on to defend the thesis that one of the
legitimate artistic pleasures we take in novel-reading is the
acquiring of knowledge and, furthermore, that the silent reading of
a novel is a kind of performance, making the novel one of the
performing arts. The volume concludes with a chapter about jokes,
and, in particular, whether it is immoral to tell or be amused by
an "immoral" joke. This volume of essays is a must-read for anyone
seriously interested in literature and the conceptual problems it
may raise for philosophers.
Through much of the twentieth century, philosophical thinking about
works of art, design, and other aesthetic products has emphasized
intuitive and reflective methods, often tied to the idea that
philosophy's business is primarily to analyze concepts. This
'philosophy from the armchair' approach contrasts with methods used
by psychologists, sociologists, evolutionary thinkers, and others
who study the making and reception of the arts empirically. How far
should philosophers be sensitive to the results of these studies?
Is their own largely a priori method basically flawed? Are their
views on aesthetic value, interpretation, imagination, and the
emotions of art to be rethought in the light of best science? The
essays in this volume seek answers to these questions, many through
detailed studies of problems traditionally regarded as
philosophical but where empirical inquiry seems to be shedding
interesting light. No common view is looked for or found in this
volume: a number of authors argue that the current enthusiasm for
scientific approaches to aesthetics is based on a misunderstanding
of the philosophical enterprise and sometimes on misinterpretation
of the science; others suggest various ways that philosophy can and
should accommodate and sometimes yield to the empirical approach.
The editors provide a substantial introduction which sets the scene
historically and conceptually before summarizing the claims and
arguments of the essays.
Through much of the twentieth century, philosophical thinking about
works of art, design, and other aesthetic products has emphasized
intuitive and reflective methods, often tied to the idea that
philosophy's business is primarily to analyze concepts. This
'philosophy from the armchair' approach contrasts with methods used
by psychologists, sociologists, evolutionary thinkers, and others
who study the making and reception of the arts empirically. How far
should philosophers be sensitive to the results of these studies?
Is their own largely a priori method basically flawed? Are their
views on aesthetic value, interpretation, imagination, and the
emotions of art to be rethought in the light of best science? The
essays in this volume seek answers to these questions, many through
detailed studies of problems traditionally regarded as
philosophical but where empirical inquiry seems to be shedding
interesting light. No common view is looked for or found in this
volume: a number of authors argue that the current enthusiasm for
scientific approaches to aesthetics is based on a misunderstanding
of the philosophical enterprise and sometimes on misinterpretation
of the science; others suggest various ways that philosophy can and
should accommodate and sometimes yield to the empirical approach.
The editors provide a substantial introduction which sets the scene
historically and conceptually before summarizing the claims and
arguments of the essays.
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