In recent years, bioaesthetics has used the latest discoveries in evolutionary studies and neuroscience to provide new ways of looking at art and aesthetics. Carsten Strathausens remarkable exploration of this emerging field is the first comprehensive account of its ideas, as well as a timely critique of its limitations. Strathausen familiarizes readers with the basics of bioaesthetics, grounding them in its philosophical underpinnings while articulating its key components. Importantly, he delves into the longstanding problem of the two culturesthat separate the arts and the sciences. Seeking to make bioaesthetics a more robust way of thinking, Strathausen then critiques it for failing to account for sciences historical and cultural assumptions. At its worst, he says, biologism reduces artworks to mere automatons that rubber-stamp pre-established scientific truths. Written with a sensitive understanding of sciences strengths, and willing to refute its best arguments, Bioaesthetics helps readers separate the sensible from the specious. At a time when humanities departments are shrinking-and when STEM education is on the rise-Bioaesthetics makes vital points about the limitations of science, while lodging a robust defense of the importance of the humanities.

Examining the relationship between German poetry, philosophy, and visual media around 1900, Carsten Strathausen argues that the poetic works of Rainer Maria Rilke, Hugo von Hofmannsthal, and Stephan George focused on the visible gestalt of language as a means of competing aesthetically with the increasing popularity and "reality effect" of photography and film. Poetry around 1900 self-reflectively celebrated its own words as both transparent signs and material objects, Strathausen says. In Aestheticism, this means that language harbors the potential to literally present the things it signifies. Rather than simply describing or picturing the physical experience of looking, as critics have commonly maintained, modernist poetry claims to enable a more profound kind of perception that grants intuitive insights into the very texture of the natural world.

A new ontology for a globalized worldRich with analyses of concepts from deconstruction, systems theory, and post-Marxism, with critiques of fundamentalist thought and the war on terror, this volume argues for developing a philosophy of being in order to overcome the quandary of postmodern relativism. Undergirding the contributions are the premises that ontology is a vital concept for philosophy today, that an acceptable leftist ontology must avoid the kind of identity politics that has dominated recent cultural studies, and that a new ontology must be situated within global capitalism.A Leftist Ontology offers a timely intervention in political philosophy, featuring some of the leading voices of our time.Contributors: Bruno Bosteels, Cornell U; Christopher Breu, Illinois State U; Nicholas Brown, U of Illinois at Chicago; Sorin Radu Cucu, Manhattan College; George Edmondson, Dartmouth College; Eva Geulen, U of Bonn; Philip Goldstein, U of Delaware; Klaus Mladek, Dartmouth College; Alberto Moreiras, U of Aberdeen; Jeffrey T. Nealon, Pennsylvania State U; William Rasch, Indiana U; Ben Robinson, Indiana U; Imre Szeman, McMaster U; Roland Vegso, U of Tennessee, Knoxville.

Examining the relationship between German poetry, philosophy, and visual media around 1900, Carsten Strathausen argues that the poetic works of Rainer Maria Rilke, Hugo von Hofmannsthal, and Stephan George focused on the visible gestalt of language as a means of competing aesthetically with the increasing popularity and ""reality effect"" of photography and film. Poetry around 1900 self-reflectively celebrated its own words as both transparent signs and material objects, Strathausen says. In Aestheticism, this means that language harbors the potential to literally present the things it signifies. Rather than simply describing or picturing the physical experience of looking, as critics have commonly maintained, modernist poetry claims to enable a more profound kind of perception that grants intuitive insights into the very texture of the natural world.

In recent years, bioaesthetics has used the latest discoveries in evolutionary studies and neuroscience to provide new ways of looking at art and aesthetics. Carsten Strathausens remarkable exploration of this emerging field is the first comprehensive account of its ideas, as well as a timely critique of its limitations. Strathausen familiarizes readers with the basics of bioaesthetics, grounding them in its philosophical underpinnings while articulating its key components. Importantly, he delves into the longstanding problem of the two culturesthat separate the arts and the sciences. Seeking to make bioaesthetics a more robust way of thinking, Strathausen then critiques it for failing to account for sciences historical and cultural assumptions. At its worst, he says, biologism reduces artworks to mere automatons that rubber-stamp pre-established scientific truths. Written with a sensitive understanding of sciences strengths, and willing to refute its best arguments, Bioaesthetics helps readers separate the sensible from the specious. At a time when humanities departments are shrinking-and when STEM education is on the rise-Bioaesthetics makes vital points about the limitations of science, while lodging a robust defense of the importance of the humanities.

Examining the relationship between German poetry, philosophy, and visual media around 1900, Carsten Strathausen argues that the poetic works of Rainer Maria Rilke, Hugo von Hofmannsthal, and Stephan George focused on the visible gestalt of language as a means of competing aesthetically with the increasing popularity and "reality effect" of photography and film. Poetry around 1900 self-reflectively celebrated its own words as both transparent signs and material objects, Strathausen says. In Aestheticism, this means that language harbors the potential to literally present the things it signifies. Rather than simply describing or picturing the physical experience of looking, as critics have commonly maintained, modernist poetry claims to enable a more profound kind of perception that grants intuitive insights into the very texture of the natural world.

A new ontology for a globalized worldRich with analyses of concepts from deconstruction, systems theory, and post-Marxism, with critiques of fundamentalist thought and the war on terror, this volume argues for developing a philosophy of being in order to overcome the quandary of postmodern relativism. Undergirding the contributions are the premises that ontology is a vital concept for philosophy today, that an acceptable leftist ontology must avoid the kind of identity politics that has dominated recent cultural studies, and that a new ontology must be situated within global capitalism.A Leftist Ontology offers a timely intervention in political philosophy, featuring some of the leading voices of our time.Contributors: Bruno Bosteels, Cornell U; Christopher Breu, Illinois State U; Nicholas Brown, U of Illinois at Chicago; Sorin Radu Cucu, Manhattan College; George Edmondson, Dartmouth College; Eva Geulen, U of Bonn; Philip Goldstein, U of Delaware; Klaus Mladek, Dartmouth College; Alberto Moreiras, U of Aberdeen; Jeffrey T. Nealon, Pennsylvania State U; William Rasch, Indiana U; Ben Robinson, Indiana U; Imre Szeman, McMaster U; Roland Vegso, U of Tennessee, Knoxville.

Examining the relationship between German poetry, philosophy, and visual media around 1900, Carsten Strathausen argues that the poetic works of Rainer Maria Rilke, Hugo von Hofmannsthal, and Stephan George focused on the visible gestalt of language as a means of competing aesthetically with the increasing popularity and ""reality effect"" of photography and film. Poetry around 1900 self-reflectively celebrated its own words as both transparent signs and material objects, Strathausen says. In Aestheticism, this means that language harbors the potential to literally present the things it signifies. Rather than simply describing or picturing the physical experience of looking, as critics have commonly maintained, modernist poetry claims to enable a more profound kind of perception that grants intuitive insights into the very texture of the natural world.