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Aisthesis
Composed in a series of scenes, Aisthesis–Rancière’s definitive statement on the aesthetic–takes its reader from Dresden in 1764 to New York in 1941. Along the way, we view the Belvedere Torso with Winckelmann, accompany Hegel to the museum and Mallarmé to the Folies-Bergère, attend a lecture by Emerson, visit exhibitions in Paris and New York, factories in Berlin, and film sets in Moscow and Hollywood. Rancière uses these sites and events—some famous, others forgotten—to ask what becomes art and what comes of it. He shows how a regime of artistic perception and interpretation was constituted and transformed by erasing the specificities of the different arts, as well as the borders that separated them from ordinary experience. This incisive study provides a history of artistic modernity far removed from the conventional postures of modernism.
Aisthesis
The definitive statement on aesthetics and the history of modernism from one of France's most renowned philosophers. Composed of a series of scenes that defined modernism, Aisthesis takes its reader from Dresden in 1764 to New York in 1941. Along the way, we view the Belvedere Torso with Winckelmann, accompany Hegel to the museum and Mallarm to the Folies-Bergre, attend a lecture by Emerson, visit exhibitions in Paris and New York, factories in Berlin, and film sets in Moscow and Hollywood. Rancire uses these sites and events to ask what becomes art and what comes from it. This incisive study provides a history of artistic modernity far removed from the conventional postures of modernism.
Phenomenology and the Arts: Logos and Aisthesis
This volume examines the great varieties of artistic experience from first hand phenomenological descriptions. It features detailed and concrete analyses which provides readers with in-depth insights into each specific domain of artistic experience. Coverage includes phenomenological elucidation of the aesthetic attitude, the power of imagination, and the logic of sensibility. The essays also detail concrete phenomenological analyses of aesthetic experiences in poetry, painting, photography, drama, architecture, and urban aesthetics. The book contains essays from "Logos and Aisthesis: Phenomenology and the Arts," an international conference held at the Chinese University of Hong Kong. It brings together a team of top scholars from both the East and the West and offers readers a global perspective on this interesting topic. These innovative, yet accessible, essays, will benefit students and researchers in philosophy, aesthetics, the arts, and the humanities. They will also be of interest to specialists in phenomenology.
Greek Philosophical Terms
Combining the convenience of a dictionary with the depth of a history of philosophy, this new reference book fills a great need and should prove exceedinly useful to all students and scholars in classics, philosophy, theology and linguistics. The book defines and translates key terms used by pre-Christian philosophers up to the time of Proclus, with special references to the writings of the philosophers as they developed nuances and new meanings for the terms. Entries are arranged in dictionary style, but a knowledge of Greek is not necessary to use the book, since an English-Greek index provides the reader with Greek equivalents of English terms, with cross-reference to the main text. Its great value is that it isolates terms and allows the reader to follow their individual careers, while at the same time it offers an evolutionary history of the concept instead of a mere definition.
Ethics of Nature
Hat die Natur Eigenwert, oder ist sie nur für den Menschen da? Ist die traditionelle anthropozentrische Ethik angesichts ökologischer Krisenerfahrungen heute noch zu rechtfertigen? Diese Untersuchung ordnet und beurteilt die noch unübersichtliche Naturschutzdiskussion in einer einfachen, knappen und bildreichen Sprache. Sie erstellt eine "Landkarte" der dreizehn wesentlichen Naturschutzargumente und verteidigt den Eigenwert der leidensfähigen Natur.
Dialogical Imaginations
We tend to think of imagination as private, originating from our innermost selves--and language as something that is created in communication. Turning this idea on its head, the contributors to Dialogical Imaginations start from the provocative premise that imagination and language are both inherently social constructs that determine how we perceive the world. In addition, the idea of imagination as a dialogical formation, where dialogue within the self can raise questions and can open up new topics for consideration, may also be applied to how societies as a whole perceive their own conditions. With contributors from a wide range of disciplines, including philosophy, media and film studies, art history, literature, and sociology, the book considers a wide variety of cultural manifestations of social perception. In the process, it offers a reevaluation of he concept of humanism, addressing key criticisms of by Foucault, Butler, and others.
The Imagination of the Mind in Classical Athens
This book explores the imaginative processes at work in the artefacts of Classical Athens. When ancient Athenians strove to grasp ‘justice’ or ‘war’ or ‘death’, when they dreamt or deliberated, how did they do it? Did they think about what they were doing? Did they imagine an imagining mind? European histories of the imagination have often begun with thinkers like Plato and Aristotle. By contrast, this volume is premised upon the idea that imaginative activity, and especially efforts to articulate it, can take place in the absence of technical terminology. In exploring an ancient culture of imagination mediated by art and literature, the book scopes out the roots of later, more e...
