Bloomsbury Studies in Philosophy – serie

Transcendental Ontology in German Idealism: Schelling and Hegel sheds remarkable light on a question central to post-Kantian philosophy: after the Copernican Revolution in philosophy, what can philosophy say about the world or reality as such? What remains of ontology's task after Kant? This is a question often overlooked in contemporary scholarship on German Idealism. Markus Gabriel offers a refreshing reinvigoration of a range of questions concerning scepticism, corporeality, freedom, the question of being, the absolute and the modal status of our determinations and judgments, all crucial to our understanding of the truly radical nature of post-Kantian philosophy. Gabriel's assessment of the experiments undertaken in post-Kantian ontology reaffirms Schelling's and Hegel's place at the heart of contemporary metaphysics. The book shows how far we still have to go in mining the thought of Hegel and Schelling and how exciting, as a result, we can expect twenty-first century philosophy to be.

The Feminist Uncanny in Theory and Art Practice investigates the widely debated, deeply flawed yet influential concept of the uncanny through the lens of feminist theory and contemporary art practice. Not merely a subversive strategy but a cipher of the fraught but fertile dialogue between feminism and psychoanalysis, the uncanny makes an ideal vehicle for an arrangement marked by ambivalence and acts as a constant reminder that feminism and psychoanalysis are never quite at home with one another.The Feminist Uncanny begins by charting the uncanniness of femininity in foundational psychoanalytic texts by Ernst Jentsch, Sigmund Freud, Jacques Lacan and Mladen Dolar, and contextually introduces a range of feminist responses and appropriations by Hélène Cixous, Julia Kristeva and Sarah Kofman, among others. The book also offers thematically organised interpretations of famous artworks and practices informed by feminism, including Judy Chicago’s Dinner Party, Faith Ringgold’s story quilts and Susan Hiller’s ‘paraconceptualism’, as well as less well-known practice, such as the Women’s Postal Art Even (Feministo) and the photomontages of Maud Sulter. Dead (lexicalised) metaphors, unhomely domesticity, identity and (dis)identification, and the tension between family stories and art's histories are examined in and from the perspective of different artistic and critical practices, illustrating different aspects of the feminist uncanny.Through a ‘partisan’ yet comprehensive critical review of the fascinating concept of the uncanny, The Feminist Uncanny in Theory and Art Practice proposes a new concept, the feminist uncanny, which it upholds as one of the most enduring legacies of the Women's Liberation Movement in contemporary art theory and practice.

Subjectivity and Identity is a philosophical and interdisciplinary study that critically evaluates critically the most important philosophical, sociological, psychological and literary debates on subjectivity and the subject. Starting from a history of the concept of the subject from modernity to postmodernity - from Descartes and Kant to Adorno and Lyotard - Peter V. Zima distinguishes between individual, collective, mythical and other subjects.Most texts on subjectivity and the subject present the topic from the point of view of a single discipline: philosophy, sociology, psychology or theory of literature. In Subjectivity and Identity Zima links philosophical approaches to those of sociology, psychology and literary criticism. The link between philosophy and sociology is social philosophy (e.g. Althusser, Marcuse, Habermas), the link between philosophy and literary criticism is aesthetics (e.g. Adorno, Lyotard, Vattimo). Philosophy and psychology can be related thanks to the psychological implications of several philosophical concepts of subjectivity (Hobbes, Stirner, Sartre).

Contemporarydiscussions of the image like to emphasize art's societal functions. Fewstudies come close to answering why pictures and sculptures fascinate andintrigue regardless of any practical functions they might serve. In thisoriginal, thought-provoking study, Paul Crowther reveals the intrinsicsignificance of pictures and sculptures. To address thequestion of how painting becomes an art, Crowther uses the analytic philosophyof Richard Wollheim as a starting point. But to sufficiently answer thequestion, he makes an important link to a tradition much more successful ingiving voice to the deeper ontology of visual art - existential phenomenology. The result is a work that demonstrates thereciprocal relationship between phenomenology and analytic aesthetics. Toexpand its ontological scope and solve the problem of expression, analytic aestheticsneeds phenomenology; while to develop a sustained, critically balanced, andintellectually available ontology, phenomenology needs the discursive force andlucidity of analytic philosophy. This convincing case for a post-analyticphenomenology of art is an important advancement of contemporary discussions ofthe philosophy of art.

Life-philosophy, central to 19th-century philosophical thought, is concerned with the meaning, value and purpose of life. This much-needed study returns to the central philosophical questions of Lebensphilosophie and reveals the ascendency of ‘life’ in contemporary philosophical thinking. Scholars from the disciplines of political theory, aesthetics, bioethics and ontology examine how the notion of life has made its way into contemporary philosophical discussions. They explore three main themes: the shift toward biological and technological views of life; the political implications of our conceptions of life; and the re-emergence of the idea of life in recent philosophical discussions about, for example, care of the self, scepticism, tragedy, desire, the emotions, and history. Anticipating new directions of philosophical thinking, this study restores a vital school of thought to crucial considerations about the dangers of contemporary politics and the threat of new technologies.

Art, Language and Figure in Merleau-Ponty: Excursions in Hyper-Dialectic considers Merleau-Ponty’s later ontology of language in the light of his “figured philosophy,” which places the work of art at the centre of its investigation. Kaushik argues that, since for Merleau-Ponty the work of art actualizes a sensible ontology that would otherwise be invisible to the history of dialectics, it undermines the fundamental difference between being and linguistic structures.Art, Language and Figure in Merleau-Ponty takes up the radical task of the figured philosophy to render sensible and linguistic spaces prior to the thought of their separation. Kaushik situates Merleau-Ponty’s criticisms of Saussure’s linguistic system, as well as a more general repudiation of the act of inscribing in favour of an abstracted textual meaning, in this context. Following the artists most important to Merleau-Ponty’s own writings on art, such as Paul Klee and his fascination with hieroglyphics, and extending these analyses to more recent 21st Century artists such as Cy Twombly, Kaushik takes an excursion into the places where art and language, image and text, drawing and writing, figure and discourse, are interlaced in Merleau-Ponty’s last ontology. In view of these intersections, Kaushik ultimately argues, the work of art gives us the spaces where the possibilities of philosophy, both past and future, reside. As the first sustained treatment into the relationship between art and language, this is an important contribution to Meleau-Ponty's philosophy and scholars of aesthetics.

Towards the end of the third critique, Kant begins to develop the link between education and his theory of judgment. In this original exploration of the Critique of Judgment, Pradeep Dhillon advances this link and demonstrates the contemporary importance of Kant's theory, not only within philosophical aesthetics and aesthetic education, but to education itself. With educational concerns at the core of her analysis, Dhillon examines Kant's argument for making room for judgment in human affairs, shows how judgment serves to link knowledge to ethics and discusses the relation between aesthetics, art, and the faculty of judgment. Following Kant's theory of judgment as it moves from the creation of artworks to unique instances of judgment, Dhillon explores ways to develop and refine the power of judgment and represents acts of judging in light of Kant's theory. Kant: The Art of Judgment in Aesthetic Education is the first systematic treatment of what Kant's theory of judgment means for all fields of learning, making it an important contribution to studies of aesthetics in both humanistic research and educational scholarship.

Drawing on the philosophies of art developed by the continental authors and studies of Anglo-American philosophers, this book presents a panorama of the philosophy of art. It discusses definitions offered from the analytical school including Arthur Danto’s representationalism, Dipert’s theories of artefactualism, Dickie’s institutional and procedural theories and Levinson’s historical and cultural theories. From the continental theories it reflects on Hegel’s notion of philosophy of art, Martin Heidegger’s and Hans Georg Gadamer’s hermeneutic tradition and Alexius Meinong’s theory of objects. This range of definitions and theories are judged and defended using a form of representationalism that begins with the results of Arthur Danto’s thinking and integrates the aesthetic reflection of the Baumgarten School. The result is not only a presentation of philosophy of art from the beginning of the twentieth century to present day, but a study that proposes a theory capable of synthesizing the finest contributions of the analytic and continental traditions.

This study examines how key figures in the German aesthetic tradition — Kant, Schelling, Friedrich Schlegel, Hegel, and Adorno — attempted to think through the powers and limits of art in post-Enlightenment modernity. Ayon Maharaj argues that the aesthetic speculations of these thinkers provide the conceptual resources for a timely dialectical defense of “aesthetic agency”— art’s capacity to make available uniquely valuable modes of experience that escape the purview of Enlightenment scientific rationality.Blending careful philosophical analysis with an intellectual historian’s attention to the broader cultural resonance of philosophical arguments, Maharaj has two interrelated aims. He provides challenging new interpretations of the aesthetic philosophies of Kant, Schelling, Schlegel, Hegel, and Adorno by focusing on aspects of their thought that have been neglected or misunderstood in Anglo-American and German scholarship. He demonstrates that their subtle investigations into the nature and scope of aesthetic agency have far-reaching implications for contemporary discourse on the arts. The Dialectics of Aesthetic Agency is an important and original contribution to scholarship on the German aesthetic tradition and to the broader field of aesthetics.

Can literary fictions convey significant philosophical views, understood in terms of propositional knowledge? This study addresses the philosophical value of literature by examining how literary works impart philosophy truth and knowledge and to what extent the works should be approached as communications of their authors.Beginning with theories of fiction, it examines the case against the prevailing 'pretence' and 'make-believe' theories of fiction hostile to propositional theories of literary truth. Tackling further arguments against the cognitive function and value of literature, this study illustrates how literary works can contribute to knowledge by making assertions and suggestions and by providing hypotheses for the reader to assess.Through clear analysis of the concept of the author, the role of the authorial intention and the different approaches to the 'meaning' of a literary work, this study provides an historical survey to the cognitivist-anti-cognitivist dispute, introducing contemporary trends in the discussion before presenting a novel approach to recognizing the cognitive function of literature. An important contribution to philosophical studies of literature and knowledge.

Recentwork in political philosophy and the history of ideas presents Spinoza andHegel as the most powerful living alternatives to mainstream Enlightenmentthought. Yet, for many philosophers and political theorists today, one mustchoose between Hegel or Spinoza. As Deleuze's influential interpretationmaintains, Hegel exemplifies and promotes the modern "cults of death," whileSpinoza embodies an irrepressible "appetite for living." Hegel is the figure ofnegation, while Spinoza is the thinker of "pure affirmation". Yet, betweenHegel and Spinoza there is not only opposition. This collection of essays seeksto find the suppressed kinship between Hegel and Spinoza. Both philosophersoffer vigorous and profound alternatives to the methodological individualism ofclassical liberalism. Likewise, they sketch portraits of reason that arecontext-responsive and emotionally contoured, offering an especially rich appreciationof our embodied and historical existence. The authors of this collectioncarefully lay the groundwork for a complex and delicate alliance between thesetwo great iconoclasts, both within and against the Enlightenment tradition.

Whether art can be wholly autonomous has been repeatedly challenged in the modern history of aesthetics. In this collection of specially-commissioned chapters, a team of experts discuss the extent to which art can be explained purely in terms of aesthetic categories. Covering examples from Philosophy, Music and Art History and drawing on continental and analytic sources, this volume clarifies the relationship between artworks and extra-aesthetic considerations, including historic, cultural or economic factors. It presents a comprehensive overview of the questionof aesthetic autonomy, exploring its relevance to both philosophy and the comprehension of specific artworks themselves. By closely examining how the creation of artworks, and our judgements of these artworks, relate to society and history, Aesthetic and Artistic Autonomy provides an insightful and sustained discussion of a major question in aesthetic philosophy.

Descartes' characterisation of the mind as a 'thinking thing' marks the beginning of modern philosophy of mind. It is also the point of departure for Descartes' own system in which the mind is the first object of knowledge for those who reason in an 'orderly way'. This ground-breaking book shows that the Cartesian mind has been widely misunderstood: typically treated as simply the subject of phenomenal consciousness, ignoring its deeply intellectual character. James Hill argues that this interpretation has gone hand in hand with a misreading of Descartes' method of doubt which treats it as all-inclusive and universal in scope. In fact, the sceptical arguments of the First Meditation aim to lead the mind away from the senses and towards the intellectual 'notions' that the mind has within it, and which are never the subject of doubt. Hill also places Descartes' concept of mind into the wider setting of his science of nature, showing how he wished to reveal a mental subject that would able to comprehend the new physics necessitated by Copernicus' heliocentrism.

In today’s society, everything is in question. The reflexive questioning of modernity has fundamentally problematized society, including philosophy, which has experienced a crisis of metaphysics. Michel Meyer’s problematology answers this crisis by questioning questioning, unfolding a new way of doing philosophy, with special relevance for the study of society. In this first-ever extended treatment of Meyer’s work, Nick Turnbull examines the main features of problematology, including the principle of questioning and the deduction of an original conception of difference, based on the question-answer relationship. Turnbull shows how these concepts produce new perspectives in the philosophy of the emotions, history, meaning, politics, rhetoric and science. He applies Meyer’s ideas to key questions in the philosophy of social science, showing how problematology offers important insights for understanding contemporary society.The book compares problematology with the work of well-known thinkers, including Bourdieu, Castoriadis, Collingwood, Derrida, Dewey, Gadamer, Heidegger and Lyotard. Turnbull uses problematology and rhetoric to explain how meaning is constructed through practice in the negotiation of social distance.

In Hegel's Rabble, Frank Ruda identifies and explores a crucial problem in the Hegelian philosophy of right that strikes at the heart of Hegel's conception of the state. This singular problem, which Ruda argues is the problem of Hegelian political thought, appears in Hegel's text only in a seemingly marginal form under the name of the "rabble": a particular side-effect of the dialectical deduction of the necessity of the existence of state from the contradictory constitution of civil society. Working out from a thorough analysis of this problem and drawing on contemporary discussions in the work of such thinkers as Alain Badiou, Jean-Luc Nancy and Slavoj Zizek, the book proceeds to re-examine and reconstruct Hegel's entire political project. Ruda goes on to argue that only by re-thinking this problem of 'the rabble' in Hegel's thought - the only problem Hegel is able neither to resolve nor to sublate - can the early Marxian conception of 'the proletariat' be properly understood. The book closes with an Afterword from Slavoj Zizek.

The Feminist Uncanny in Theory and Art Practice investigates the widely debated, deeply flawed yet influential concept of the uncanny through the lens of feminist theory and contemporary art practice. Not merely a subversive strategy but a cipher of the fraught but fertile dialogue between feminism and psychoanalysis, the uncanny makes an ideal vehicle for an arrangement marked by ambivalence and acts as a constant reminder that feminism and psychoanalysis are never quite at home with one another.The Feminist Uncanny begins by charting the uncanniness of femininity in foundational psychoanalytic texts by Ernst Jentsch, Sigmund Freud, Jacques Lacan and Mladen Dolar, and contextually introduces a range of feminist responses and appropriations by Hélène Cixous, Julia Kristeva and Sarah Kofman, among others. The book also offers thematically organised interpretations of famous artworks and practices informed by feminism, including Judy Chicago’s Dinner Party, Faith Ringgold’s story quilts and Susan Hiller’s ‘paraconceptualism’, as well as less well-known practice, such as the Women’s Postal Art Even (Feministo) and the photomontages of Maud Sulter. Dead (lexicalised) metaphors, unhomely domesticity, identity and (dis)identification, and the tension between family stories and art's histories are examined in and from the perspective of different artistic and critical practices, illustrating different aspects of the feminist uncanny.Through a ‘partisan’ yet comprehensive critical review of the fascinating concept of the uncanny, The Feminist Uncanny in Theory and Art Practice proposes a new concept, the feminist uncanny, which it upholds as one of the most enduring legacies of the Women's Liberation Movement in contemporary art theory and practice.

The Missed Encounter of Radical Philosophy with Architecture brings together a respected team of philosophers and architecture scholars to ask what impact architecture has over today's culture and society. For three decades critical philosophy has been in discourse with architecture. Yet following the recent radical turn in contemporary philosophy, architecture's role in contemporary culture is rarely addressed. In turn, the architecture discourse in academia has remained ignorant of recent developments in radical philosophy. Providing the first platform for a debate between critics, architects and radical philosophers, this unique collection unties these two schools of thought. Contributors reason for or against the claim of the "missed encounter" between architecture and radical philosophy. They discuss why our prominent critical philosophers devote stimulating writings to the ideological impact of arts on the contemporary culture - music, literature, cinema, opera, theatre - without attempting a similar comprehensive analysis of architecture. By critically evaluating recent philosophy in relation to contemporary architecture, The Missed Encounter of Radical Philosophy with Architecture presents a thorough understanding of the new relationship between architecture and radical philosophy.

Winner of the 2015 Bertrand Russell Society Book AwardBertrand Russell's Bundle Theory of Particulars presents and evaluates Russell's arguments for two competing theories on the nature of particulars at different stages in his career: the substratum theory of particulars (1903-1913) and the bundle theory of particulars (1940-1948). Through its original focus on Russell's little known metaphysics in the later part of his career, this study explains why Russell's theory of particulars is relevant today. It argues that a Russellian realist bundle theory is indeed the best explanation of similarities and differences that we observe around us thanks to the ontological economy such a theory provides and its strength and completeness as a theory of the nature of reality. Tackling the major criticisms levelled against the realist bundle theory - the problem of individuation, the problem of necessity, and the problem of analyticity - this study presents and defends a tenable Russellian bundle theory which can answer the objections. Bertrand Russell's Bundle Theory of Particulars is a novel and significant contribution to Russell scholarship.

In The Unity of Content and Form in Philosophical Writing, Jon Stewart argues that there is a close relation between content and form in philosophical writing. While this might seem obvious at first glance, it is overlooked in the current climate of Anglophone academic philosophy, which, Stewart contends, accepts only a single genre as proper for philosophical expression. Stewart demonstrates the uniformity of today's philosophical writing by contrasting it with that of the past. Taking specific texts from the history of philosophy and literature as case studies, Stewart shows how the use of genres like dialogues, plays and short stories were an entirely suitable and effective means of presenting and arguing for philosophical positions given the concrete historical and cultural contexts in which they appeared. Now, Stewart argues, the prevailing intolerance means that the same texts are dismissed as unphilosophical merely due to their form, although their content is, in fact, profoundly philosophical. The book’s challenge to current conventions of philosophical is provocative and timely, and will be of great interest to students and scholars of philosophy, literature and history.

To speak of evil is to speak of a gap between what is and what should be. If classical approaches to this problem often relied on a religious or metaphysical framework to structure their response, Kant's answer is typically modern in that it places within the subject the means of its own moral regeneration. And yet from his first essays on ethics to later, more rigorous writings on the issue, Kant also admits an undeniable fallibility and inherent weakness to humanity. This book explores this neglected existential side of Kant's work. It presents radical evil as vacillating between tragic and freedom, at the threshold of humanity. Through it's careful exegesis of the Kantian corpus, in gauging contemporary responses from both philosophical traditions, and by drawing from concrete examples of evil, the book offers a novel and accessible account of what is widely considered to be an intricate yet urgent problem of philosophy.

The Allure of Things: Process and Object in Contemporary Philosophy contests the view that metaphysics is something to be overcome. By focusing on process and object oriented ontology (OOO) and rejecting the privileging of human existence over the existence of non-human objects, this collection explores philosophy's concern with things themselves. Interest in Latour, Stengers, Whitehead, Harman and Meillassoux has prompted a resurgence of ontological questions outside the traditional subject-object framework of modern critical thought. This new collection consequently proposes a pragmatic and pluralist approach to 'modes of existence'. Drawing together an international range of leading scholars, The Allure of Things fully covers the similarities between OOO and process philosophy, and is an essential addition to the literature on metaphysics.

This volume of original work comprises a modest challenge, sometimes direct, sometimes implicit, to the mainstream Anglo-American conception of the discipline of medical ethics. It does so not by trying to fill the gaps with exotic minority interest topics, but by re-examining some of the fundamental assumptions of the familiar philosophical arguments, and some of the basic situations that generate the issues. The most important such situation is the encounter between the doctor and the suffering patient, which forms one of the themes of the book. The authors show that concepts such as the body, suffering and consent - and the role such concepts play within patients' lives - are much more complicated than the Anglo-American mainstream appreciates. Some of these concepts have been discussed with subtlety by Continental philosophers (like Heidegger, Ricoeur), and a secondary purpose of the volume is to apply their ideas to medical ethics. Designed for upper-level undergraduates and graduate students with some philosophical background in ethics, Reconceiving Medical Ethics opens up new avenues for discussion in this ever-developing field.

Intentionality - the relationship between conscious states and their objects - is one of the most discussed topics in contemporary debates in philosophy of mind, cognitive neuroscience and the study of consciousness. Long a foundational concept in Phenomenology, it has also received considerable coverage in the writings of analytic philosophers. This book is the first study to offer an impartial, well-informed assessment of the two traditions' approaches through an in-depth investigation of the principal thinkers' ideas, so that their positions emerge side-by-side, converging and diverging on certain shared themes.Beginning with a historical discussion of thedevelopment of the term in the work of Continental thinkers in the 19th and early 20th centuries, the book considers the work of Brentano and Husserl and subsequent existentialist critiques. From there, it explores how empirical-analytic philosophers took up the topic, drawn as they were to materialist and computer models of the mind. Finally MacDonald presents a new 'hybrid' account of intentionality that will be a crucial work for scholars working on consciousness and the mind.

Aesthetic desire and distaste prime everyday life in surprising ways. The Cultural Promise of the Aesthetic casts much-needed light on the complex mix of meanings our aesthetic activities weave into cultural existence.Anchoring aesthetic experience in our relationships with persons, places, and things, Monique Roelofs explores aesthetic life as a multimodal, socially embedded, corporeal endeavor. Highlighting notions of relationality, address, and promising, this compelling study shows these concepts at work in visions of beauty, ugliness, detail, nation, ignorance, and cultural boundary. Unexpected aesthetic pleasures and pains crop up in sites where passion, perception, rationality, and imagination go together but also are in conflict. Bonds between aesthetics and politics are forged and reforged. Cross-disciplinary in outlook, and engaging the work of theorists and artists ranging from David Hume to Theodor W. Adorno, Frantz Fanon, Clarice Lispector, and Barbara Johnson, The Cultural Promise of the Aesthetic lays open the interpretive web that gives aesthetic agency its vast reach.

Feminist philosophers have been some of the most vocal critics of reason and rationality. While most feminists realize that rationality is a concept that cannot be entirely abandoned, few have considered how to construct a positive account of rationality. This book represents a sustained argument for a feminist theory of rationality. It opens by asking the question: is reason inherently masculine? Deborah K. Heikes goes on to answer this question negatively and to examine what feminists actually want from a theory of rationality, specifying what a virtue theory of rationality is and how it works. She identifies those features that feminists believe are central to reason, identifying four dichotomies that are central to feminist thinking (mind/body, reason/emotion, identity/difference, objectivity/subjectivity), and argues that they can be captured by conceiving of rationality as a virtue concept. She further demonstrates how a specifically feminist theory of rationality can provide objective grounds for feminists' moral, political and epistemic agendas.

The concept of spontaneity is central to Kant's philosophy, yet Kant himself never dealt with it explicitly. Instead it was presented as an insoluble problem concerning human reason. The ambiguity surrounding his approach to this problem is surprising when one considers that he was a philosopher who based his theoretical programme on the critique of the faculties of knowledge, feeling and desire. However, this ambiguity seems to have avoided up to now any possible critique.This highly original book presents the first full-length study of the problem of spontaneity in Kant. Marco Sgarbi demonstrates that spontaneity is a crucial concept in relation to every aspect of Kant's thought. He begins by reconstructing the history of the concept of spontaneity in the German Enlightenment prior to Kant and goes on to define knowing, thinking, acting and feeling as spontaneous activities of the mind that in turn determine Kant's logic, ethics and aesthetics. Ultimately Sgarbi shows that the notion of spontaneity is key to understanding both Kant's theoretical and practical philosophy.

Recentwork in political philosophy and the history of ideas presents Spinoza andHegel as the most powerful living alternatives to mainstream Enlightenmentthought. Yet, for many philosophers and political theorists today, one mustchoose between Hegel or Spinoza. As Deleuze's influential interpretationmaintains, Hegel exemplifies and promotes the modern "cults of death," whileSpinoza embodies an irrepressible "appetite for living." Hegel is the figure ofnegation, while Spinoza is the thinker of "pure affirmation". Yet, betweenHegel and Spinoza there is not only opposition. This collection of essays seeksto find the suppressed kinship between Hegel and Spinoza. Both philosophersoffer vigorous and profound alternatives to the methodological individualism ofclassical liberalism. Likewise, they sketch portraits of reason that arecontext-responsive and emotionally contoured, offering an especially rich appreciationof our embodied and historical existence. The authors of this collectioncarefully lay the groundwork for a complex and delicate alliance between thesetwo great iconoclasts, both within and against the Enlightenment tradition.

This study examines how key figures in the German aesthetic tradition — Kant, Schelling, Friedrich Schlegel, Hegel, and Adorno — attempted to think through the powers and limits of art in post-Enlightenment modernity. Ayon Maharaj argues that the aesthetic speculations of these thinkers provide the conceptual resources for a timely dialectical defense of “aesthetic agency”— art’s capacity to make available uniquely valuable modes of experience that escape the purview of Enlightenment scientific rationality.Blending careful philosophical analysis with an intellectual historian’s attention to the broader cultural resonance of philosophical arguments, Maharaj has two interrelated aims. He provides challenging new interpretations of the aesthetic philosophies of Kant, Schelling, Schlegel, Hegel, and Adorno by focusing on aspects of their thought that have been neglected or misunderstood in Anglo-American and German scholarship. He demonstrates that their subtle investigations into the nature and scope of aesthetic agency have far-reaching implications for contemporary discourse on the arts. The Dialectics of Aesthetic Agency is an important and original contribution to scholarship on the German aesthetic tradition and to the broader field of aesthetics.

Contemporary discussions of the image like to emphasize art's societal functions. Few studies come close to answering why pictures and sculptures fascinate and intrigue regardless of any practical functions they might serve. In this original, thought-provoking study, Paul Crowther reveals the intrinsic significance of pictures and sculptures. To address the question of how painting becomes an art, Crowther uses the analytic philosophy of Richard Wollheim as a starting point. But to sufficiently answer the question, he makes an important link to a tradition much more successful in giving voice to the deeper ontology of visual art - existential phenomenology. The result is a work that demonstrates the reciprocal relationship between phenomenology and analytic aesthetics. To expand its ontological scope and solve the problem of expression, analytic aesthetics needs phenomenology; while to develop a sustained, critically balanced, and intellectually available ontology, phenomenology needs the discursive force and lucidity of analytic philosophy. This convincing case for a post-analytic phenomenology of art is an important advancement of contemporary discussions of the philosophy of art.