This is the first introduction to the ideas of the British philosopher, Peter Winch (1926-97). Although author of the hugely influential "The Idea of a Social Science" (1958) much of Winch's other work has been neglected as philosophical fashions have changed. Recently, however, philosophers are again seeing the importance of Winch's ideas and their relevance to current philosophical concerns. In charting the development of Winch's ideas, Lyas engages with many of the major preoccupations of philosophy of the past forty years. The range of Winch's ideas becomes apparent and his importance clearly underlined. Lyas offers more than an assessment of the work of one man: it introduces in a sympathetic and judicious way a powerful representative of an important and demanding conception of philosophy.

This book presents an up-to-date introduction to the subject that captures the excitement and passion of art itself. It opens by exploring why art is important to us and goes on to grip the reader with a discussion of all of the areas central to aesthetics: aesthetic experience, representation, expression, definition of art, evaluation, interpretation, structuralism and post-structuralism, truth and morality. It draws upon the great thinkers on art, Plato and Kant, Croce and Beardsley, including the most recent iconoclastic views from the Continent of Barthes and Derrida, and invests the whole narrative with life through traditional and topical examples taken from all types of human creativity.

This book presents an up-to-date introduction to the subject that captures the excitement and passion of art itself. It opens by exploring why art is important to us and goes on to grip the reader with a discussion of all of the areas central to aesthetics: aesthetic experience, representation, expression, definition of art, evaluation, interpretation, structuralism and post-structuralism, truth and morality. It draws upon the great thinkers on art, Plato and Kant, Croce and Beardsley, including the most recent iconoclastic views from the Continent of Barthes and Derrida, and invests the whole narrative with life through traditional and topical examples taken from all types of human creativity.

This is the first introduction to the ideas of the British philosopher, Peter Winch (1926-97). Although author of the hugely influential "The Idea of a Social Science" (1958) much of Winch's other work has been neglected as philosophical fashions have changed. Recently, however, philosophers are again seeing the importance of Winch's ideas and their relevance to current philosophical concerns. In charting the development of Winch's ideas, Lyas engages with many of the major preoccupations of philosophy of the past forty years. The range of Winch's ideas becomes apparent and his importance clearly underlined. Lyas offers more than an assessment of the work of one man: it introduces in a sympathetic and judicious way a powerful representative of an important and demanding conception of philosophy.

The Italian philosopher Benedetto Croce (1866-1952) spent most of his life as a private scholar in Naples. His Estetica, which first appeared in 1902, has remained a seminal work not only for aesthetics but also for general linguistics. As the full title indicates, this is not a narrow work dealing with the theory of art and criticism. For Croce intended this to be the first part of his "philosophy of the spirit" and he thus presents a systematic general theory intended to solve all philosophical problems. The work presents an account of the structure of the human mind and shows how art arises naturally from that structure, as well as introducing the influential notion of the organic unity of a work of art. As a result, art is shown to be integral to any life and an essential aspect of what it is to be human. This new translation of the first and most important part of the work (Theory) supersedes the defective translation by D. Ainslie, first published in 1909. It is based on the most recent Italian edition (1990). In his foreword the translator addresses the difficulties in translating certain key words in the Italian original, "scienza", "fantasia", and of course, "estetica" itself. He also furnishes the reader with helpful explanatory annotation. This publication will be of cardinal importance for all those interested in the philosophy of art, the history of criticism, and the history of linguistics.