A philosophical exploration of aesthetic experience during bereavement. In Aesthetics of Grief and Mourning, philosopher Kathleen Marie Higgins reflects on the ways aesthetics aids people experiencing loss. Some practices related to bereavement, such as funerals, are scripted, but many others are recursive, improvisational, mundane--telling stories, listening to music, and reflecting on art or literature. Higgins shows how valuing these grounding, aesthetic practices can ease the disorienting effects of loss, shedding new light on the importance of aesthetics for personal and communal flourishing.

Although many of the world's musical traditions recognize the positive value of music for ethical life, the Western philosophical tradition has largely forgotten this idea. The dominance of formalism in musical aesthetics has encouraged this abandonment of the idea that music has an ethical dimension. Greater attention to musical experience and to the way that context affects the meaning that music has to performers and listeners helps to bring music's ethical potential into focus. In The Music of Our Lives, Kathleen Higgins argues that the arguments that Plato used to defend the ethical value of music are still applicable today. Music encourages ethically valuable attitudes and behavior, provides practice in skills that are valuable in ethical life, and symbolizes ethical ideals and the possibility of interpersonal harmony. In these ways it develops our ability to live well and to think clearly about our ethical situation. Music provides a model for the good human life.

Nietzsche's Zarathustra takes an interdisciplinary approach to Nietzsche's Thus Spoke Zarathustra, focusing on the philosophical function of its literary techniques and its fictional mode of presentation. It argues that the fictional format is essential to Nietzsche's philosophical message in his work. Part of that message is Nietzsche's alternative to the Western worldview as developed by Plato's dialogues and the Christian Gospel, which he presents through the teachings of his hero, Zarathustra. Another part of that message is that any doctrine, including those of Zarathustra himself, has an ambivalent nature. Although doctrinal formulations are designed to preserve and communicate philosophical insights, they can become dead formulas, out of touch with the live philosophical discoveries that they aimed to capture. Thus Spoke Zarathustra explores Zarathustra's own vulnerability to this risk, and his way of regaining real connection with living wisdom. The doctrine of eternal recurrence, which is particular prominent in Zarathustra, is a case in point. The doctrine is offered in opposition to the worldview that Nietzsche associates with the Christian doctrine of sin, which in his view promotes a view of this life as devoid of intrinsic value. However, certain ways of adhering to this doctrine themselves rob life of its value. The book also defends the importance of Part IV of Thus Spoke Zarathustra, which many scholars have seen as unimportant by comparison with the first three parts. Nietzsche's Zarathustra argues that Part III would not have been a culmination for the work, and that Part IV is essential to Nietzsche's project. Part IV's allusions to Apuleius' The Golden Ass, an ancient Menippean satire, suggest that it should be read as a satire in which Zarathustra falls into and recovers from folly. It is thus the culminating statement of the point that there is always a discrepancy between the living philosophical insight and any attempt to articulate it,

From our first social bonding as infants to the funeral rites that mark our passing, music plays an important role in our lives, bringing us closer to one another. In The Music between Us, philosopher Kathleen Marie Higgins investigates this role, examining the features of human perception that enable music's uncanny ability to provoke, despite its myriad forms across continents and throughout centuries, the sense of a shared human experience. Drawing on disciplines such as philosophy, psychology, musicology, linguistics, and anthropology, Higgins' richly researched study showcases the ways music is used in rituals, education, work, healing, and as a source of security and - perhaps most importantly - joy. By participating so integrally in such meaningful facets of society, Higgins argues, music situates itself as one of the most fundamental bridges between people, a truly cross-cultural form of communication that can create solidarity across political divides. Moving beyond the well-worn takes on music's universality, The Music between Us provides a new understanding of what it means to be musical and, in turn, human.

From our first social bonding as infants to the funeral rites that mark our passing, music plays an important role in our lives, bringing us closer to one another. In "The Music between Us", philosopher Kathleen Marie Higgins investigates this role, examining the features of human perception that enable music's uncanny ability to provoke, despite its myriad forms across continents and throughout centuries, the sense of a shared human experience. Drawing on disciplines such as philosophy, psychology, musicology, linguistics, and anthropology, Higgins's richly researched study showcases the ways music is used in rituals, education, work, healing, and as a source of security and - perhaps most importantly - joy. By participating so integrally in such meaningful facets of society, Higgins argues, music situates itself as one of the most fundamental bridges between people, a truly cross-cultural form of communication that can create solidarity across political divides. Moving beyond the well-worn takes on music's universality, "The Music between Us" provides a new understanding of what it means to be musical and, in turn, human.

This book offers a lively and unorthodox analysis of Nietzsche by examining a neglected aspect of his scholarly personality - his sense of humour. While often thought of as ponderous and melancholy, the Nietzsche of Higgins's study is a surprisingly subtle and light-hearted writer. She presents a close reading of The Gay Science to show how the numerous literary risks that Nietzsche takes reveal humour to be central to his project. Higgins argues that his use of humour is intended to dislodge readers from their usual somber detachment and to incite imaginative thinking.