Description : This anthology has been significantly expanded for this edition to include a wider range of contemporary issues. The most important addition is a new section on multicultural theory, including important and controversial selections ranging from discussions of art in other cultures to discussions of the appropriation of nonWestern art in Western cultures. The material from Kant's Critique of Judgment has been expanded to include his writing on aesthetical ideas and the sublime. The selections from Derrida have been updated and considerably expanded for this edition, primarily from The Truth in Painting. One of Derrida's most interesting provocations has also been added, his letter to Peter Eisenman on architecture. In addition, the section on feminist theory now includes a chapter from Irigaray's Speculum of the Other Woman. The anthology includes the most important writings on the theory of art in the Western tradition, including selections from Plato, Aristotle, Hume, Kant, Hegel, and Nietzsche; the most important philosophical writings of the last hundred years on the theory of art, including selections from Collingwood, Langer, Goodman, Heidegger, and Merleau-Ponty; contemporary Continental writings on art and interpretation, including selections from Gadamer, Ricoeur, Derrida, Lyotard, and Foucault; also writings on the psychology of art by Freud and Jung, from the Frankfurt School by Benjamin, Adorno, and Marcuse, in feminist theory, multiculturalism, and postmodernism. The anthology also includes twentieth-century writings by artists including discussions of futurism, suprematism, and conceptual art.
Description : Traces the history of the idea of art as an ethical movement, interpreting the good as nature's abundance, giving rise to an ethics of inclusion, expressed in art.
Description : From Descartes to the present, there has been a call for a new beginning in philosophy. Contemporary continental philosophy and American pragmatism continue to proclaim the end of one philosophic tradition and the beginning of another. The basis for many of these developments is the repudiation of metaphysics. The purpose of this book is to rethink the metaphysical traditions in terms of the continental and pragmatist critiques, rejecting a single view. The major works in the tradition are viewed as heretical. Philosophy has recurrently acknowledged aporia: "moments in the movement of thought in which it finds itself faced with unconquerable obstacles resulting from conflicts in its understanding of its own intelligibility." A chapter is devoted to each of the eight major philosophers and movements in the Western canonical tradition: the pre-Socratics, Plato, Aristotle, Spinoza, Leibniz, empiricism, Kant, and Hegel. The last three chapters are devoted to contemporary discussions of the end of metaphysics, including the development of a "local" metaphysics that is able to express its own locality and aporia.
Description : The Human Condition prompts our creative strivings beyond the natural round of life toward outstanding achievements. This book explains how the emergence of Human Condition lifts natural endowment of the individual to the level of excellence. It shows how natural forces and promptings of life transmute through creative Human Condition subliminal passions of the soul into innumerable streaks of spiritual significance.
Description : The richness of art is manifested in contrast: contrast with other works of art, other features of human experience, other times and places, and other forms of judgment and understanding. The possibilities of contrast are inexhaustible. Every being shares this inexhaustibility of openness to novel possibilities, although inexhaustibility is most fully realized in art. The general theory of art and aesthetic value developed in this book is based on the notions of inexhaustibility and contrast and has important forebears in Kant, Coleridge, and Whitehead. The theory allows art to be located relative to otheR spheres of judgment--science, action, and philosophy. The theory allows a new perspective on interpretation and criticism. Ross presents and defines a new synthetic form of understanding works of art that offers an alternative to the skepticism that haunts so many theories of interpretation.
Description : This book addresses the nature and injustice of authority, retracing the ideas of reason and law from ancient Greece to the present, pursuing a line of thought begun with Anaximander, who speaks of the ordinance of time as restitution for immemorial injustice, and Heraclitus, who speaks of justice as strife. Predominantly philosophical, exploring the authority of Western philosophy in twentieth-century continental and pragmatist writings, the book explores alternative voices as challenges to authority, in feminist and multicultural writings, in Greek mythology and African narratives, in Greek drama and twentieth-century literature.
Description : Explores the idea of human and natural kinds, pursuing an ethics of the earth responsive to social, political, and environmental issues.
Description : Explores how we might think and live in the enchantment of the secular, modern world. Taking his departure from Max Weber’s famous description of the world as disenchanted, by which he meant that everything could now be accounted for by theoretical and empirical science, Stephen David Ross asks how we might think and live in the enchantment of the secular, modern world. Enchanting offers a three-fold response: first, it takes seriously Weber’s claim and seeks to understand what is important about the disenchantment of the world; second, it takes seriously the ways in which the world exceeds its disenchantments (which is to say that the world, along with everything in it, is both disenchanted and enchanted, unaccountable in myriad ways); and third, it takes seriously the possibility that we cannot express enchantment in a disenchanted voice (which is to say that the voice in which it is written is evocative and poetic while at the same time concerned with understanding and explaining). One of the book’s most provocative claims is that all the posts of our time—including postmodernity, poststructuralism, postcoloniality, postmarxism, postsecularity, postcritique, postgender, postchristianity—are concerned with ways to think about enchanting. Among the topics explored are the death of nature in the advance of modern science, the uncertainties of truth, infinite and immeasurable ethics, the enchantments of art, the magic and provocation of human and other material bodies, and finally the excessiveness of things under the heading of betraying, understood as the nonidentity of every identity with itself. Everything is other to itself—uncertain, unthinkable, unspeakable, yet expressive—and Enchanting offers a thoughtful approach to understanding the ordinary things of the world as extraordinary in unlimited ways.