Warm, sensitive, creative, outgoing, cheeky, creepy. Scan any personal ads page and it''s clear that to get a life you need a personality first. It is also a notion with a long and often bizarre history: in early Greece and medieval Europe, it was thought to depend on the balance of bile in the body. On Personality is a thoughtful and stimulating look under the skin of this widely-used but little understood phenomenon. Peter Goldie points out that we rely on personality to do a lot of work: describe, judge, understand, explain and predict others as well as ourselves. Is it really up to this task? If personality is about ''character'', is it a relic of a bygone Victorian age? If personality is so reliable, how can a virtue in one person be a vice in another?Drawing on a great range of philosophers, novelists and films, from Aristotle, Hume, Kant and Nietzsche to Joseph Conrad, Middlemarch, War and Peace and Bridget Jones'' Diary, Peter Goldie also discusses some famous psychology experiments. If personality is a reliable guide to predicting what people will do, he reflects on why people often surprise us and asks whether personality is simply down to chance and circumstance. On Personality is essential reading for anyone interested in this fascinating but slippery concept. It will also make you think twice before writing your CV.

Warm, sensitive, creative, outgoing, cheeky, creepy. Scan any personal ads page and it''s clear that to get a life you need a personality first. It is also a notion with a long and often bizarre history: in early Greece and medieval Europe, it was thought to depend on the balance of bile in the body. On Personality is a thoughtful and stimulating look under the skin of this widely-used but little understood phenomenon. Peter Goldie points out that we rely on personality to do a lot of work: describe, judge, understand, explain and predict others as well as ourselves. Is it really up to this task? If personality is about ''character'', is it a relic of a bygone Victorian age? If personality is so reliable, how can a virtue in one person be a vice in another?Drawing on a great range of philosophers, novelists and films, from Aristotle, Hume, Kant and Nietzsche to Joseph Conrad, Middlemarch, War and Peace and Bridget Jones'' Diary, Peter Goldie also discusses some famous psychology experiments. If personality is a reliable guide to predicting what people will do, he reflects on why people often surprise us and asks whether personality is simply down to chance and circumstance. On Personality is essential reading for anyone interested in this fascinating but slippery concept. It will also make you think twice before writing your CV.

What is conceptual art? Is it really a kind of art in its own right? Is it clever – or too clever?

Of all the different art forms it is perhaps conceptual art which at once fascinates and infuriates the most. In this much-needed book Peter Goldie and Elisabeth Schellekens demystify conceptual art using the sharp tools of philosophy. They explain how conceptual art is driven by ideas rather than the manipulation of paint and physical materials; how it challenges the very basis of what we can know about art, as well as our received ideas of beauty; and why conceptual art requires us to rethink concepts fundamental to art and aesthetics, such as artistic interpretation and appreciation.

Including helpful illustrations of the work of celebrated conceptual artists from Marcel Duchamp, Joseph Kosuth and Piero Manzoni to Dan Perjovschi and Martin Creed, Who’s Afraid of Conceptual Art? is a superb starting point for anyone intrigued but perplexed by conceptual art - and by art in general. It will be particularly helpful to students of philosophy, art and visual studies seeking an introduction not only to conceptual art but fundamental topics in art and aesthetics.

What is conceptual art? Is it really a kind of art in its own right? Is it clever – or too clever?

Of all the different art forms it is perhaps conceptual art which at once fascinates and infuriates the most. In this much-needed book Peter Goldie and Elisabeth Schellekens demystify conceptual art using the sharp tools of philosophy. They explain how conceptual art is driven by ideas rather than the manipulation of paint and physical materials; how it challenges the very basis of what we can know about art, as well as our received ideas of beauty; and why conceptual art requires us to rethink concepts fundamental to art and aesthetics, such as artistic interpretation and appreciation.

Including helpful illustrations of the work of celebrated conceptual artists from Marcel Duchamp, Joseph Kosuth and Piero Manzoni to Dan Perjovschi and Martin Creed, Who’s Afraid of Conceptual Art? is a superb starting point for anyone intrigued but perplexed by conceptual art - and by art in general. It will be particularly helpful to students of philosophy, art and visual studies seeking an introduction not only to conceptual art but fundamental topics in art and aesthetics.

Warm, sensitive, creative, outgoing, cheeky, creepy. Scan any personal ads page and it''s clear that to get a life you need a personality first. It is also a notion with a long and often bizarre history: in early Greece and medieval Europe, it was thought to depend on the balance of bile in the body. On Personality is a thoughtful and stimulating look under the skin of this widely-used but little understood phenomenon. Peter Goldie points out that we rely on personality to do a lot of work: describe, judge, understand, explain and predict others as well as ourselves. Is it really up to this task? If personality is about ''character'', is it a relic of a bygone Victorian age? If personality is so reliable, how can a virtue in one person be a vice in another?Drawing on a great range of philosophers, novelists and films, from Aristotle, Hume, Kant and Nietzsche to Joseph Conrad, Middlemarch, War and Peace and Bridget Jones'' Diary, Peter Goldie also discusses some famous psychology experiments. If personality is a reliable guide to predicting what people will do, he reflects on why people often surprise us and asks whether personality is simply down to chance and circumstance. On Personality is essential reading for anyone interested in this fascinating but slippery concept. It will also make you think twice before writing your CV.

Warm, sensitive, creative, outgoing, cheeky, creepy. Scan any personal ads page and it''s clear that to get a life you need a personality first. It is also a notion with a long and often bizarre history: in early Greece and medieval Europe, it was thought to depend on the balance of bile in the body. On Personality is a thoughtful and stimulating look under the skin of this widely-used but little understood phenomenon. Peter Goldie points out that we rely on personality to do a lot of work: describe, judge, understand, explain and predict others as well as ourselves. Is it really up to this task? If personality is about ''character'', is it a relic of a bygone Victorian age? If personality is so reliable, how can a virtue in one person be a vice in another?Drawing on a great range of philosophers, novelists and films, from Aristotle, Hume, Kant and Nietzsche to Joseph Conrad, Middlemarch, War and Peace and Bridget Jones'' Diary, Peter Goldie also discusses some famous psychology experiments. If personality is a reliable guide to predicting what people will do, he reflects on why people often surprise us and asks whether personality is simply down to chance and circumstance. On Personality is essential reading for anyone interested in this fascinating but slippery concept. It will also make you think twice before writing your CV.

What is conceptual art? Is it really a kind of art in its own right? Is it clever – or too clever?

Of all the different art forms it is perhaps conceptual art which at once fascinates and infuriates the most. In this much-needed book Peter Goldie and Elisabeth Schellekens demystify conceptual art using the sharp tools of philosophy. They explain how conceptual art is driven by ideas rather than the manipulation of paint and physical materials; how it challenges the very basis of what we can know about art, as well as our received ideas of beauty; and why conceptual art requires us to rethink concepts fundamental to art and aesthetics, such as artistic interpretation and appreciation.

Including helpful illustrations of the work of celebrated conceptual artists from Marcel Duchamp, Joseph Kosuth and Piero Manzoni to Dan Perjovschi and Martin Creed, Who’s Afraid of Conceptual Art? is a superb starting point for anyone intrigued but perplexed by conceptual art - and by art in general. It will be particularly helpful to students of philosophy, art and visual studies seeking an introduction not only to conceptual art but fundamental topics in art and aesthetics.

What is conceptual art? Is it really a kind of art in its own right? Is it clever – or too clever?

Of all the different art forms it is perhaps conceptual art which at once fascinates and infuriates the most. In this much-needed book Peter Goldie and Elisabeth Schellekens demystify conceptual art using the sharp tools of philosophy. They explain how conceptual art is driven by ideas rather than the manipulation of paint and physical materials; how it challenges the very basis of what we can know about art, as well as our received ideas of beauty; and why conceptual art requires us to rethink concepts fundamental to art and aesthetics, such as artistic interpretation and appreciation.

Including helpful illustrations of the work of celebrated conceptual artists from Marcel Duchamp, Joseph Kosuth and Piero Manzoni to Dan Perjovschi and Martin Creed, Who’s Afraid of Conceptual Art? is a superb starting point for anyone intrigued but perplexed by conceptual art - and by art in general. It will be particularly helpful to students of philosophy, art and visual studies seeking an introduction not only to conceptual art but fundamental topics in art and aesthetics.