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Existence and Existents

Emmanuel Levinas

Existence and Existents Emmanuel Levinas Amazon Price: $15.16
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Editorial Review:

First published in 1947, and written mostly during Levinas's imprisonment during World War II, this work provides the first sketch of his mature thought—later developed in Totality and Infinity and Otherwise Than Being, or Beyond Essence. This is essential reading for understanding both Levinas's own philosophy and the developments in philosophical thought in the twentieth century.

Contextualizing Aesthetics: From Plato to Lyotard

H. Gene Blocker, Jennifer M. Jeffers

Contextualizing Aesthetics: From Plato to Lyotard H. Gene Blocker, Jennifer M. Jeffers Amazon Price: $122.95
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Customer Reviews:
Total reviews: 1 Average rating: 4.0 of 5

Almost 4 out of 5 stars.
0 of 0 people found this review helpful.

In truth, this book deserves 3.5 stars-unfortunately for me, that is not available.So I had to put it a notch lower together with an earlier review on William James' book. A sad affair for me and the editors of this tex. A little after Kant the whole thing starts getting muggy-off course, post modernists are prone to mugginess! But a good read-really! Longinus on The Sublime was especially mesmerizing for me. ENJOY!

Editorial Review:

This book brings philosophical aesthetics into a broader cultural interest in the fine arts and draws together the classics of the history of aesthetics, the mid-twentieth century or "Analytic" aesthetics, and late-twentieth century or "Continental" post-structuralist "theory."

The Sublime: A Reader in British Eighteenth-Century Aesthetic Theory

The Sublime: A Reader in British Eighteenth-Century Aesthetic Theory List Price: $59.95
By: Cambridge University Press
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Editorial Review:

The concept of the Sublime has influenced aesthetic and theoretical debate ever since it was first widely invoked in the eighteenth century. However, the unavailability of many crucial early texts has resulted in a conception of the Sublime often limited to the definitions of its most famous theorist Edmund Burke. Andrew Ashfield and Peter de Bolla's valuable anthology, which includes an introduction, and headnotes to each entry, now offers students and scholars ready access to a deep and complex tradition of writing on the Sublime, many of them never before reprinted in modern editions.

The Cultivated Wilderness: Or, What is Lanscape? (Graham Foundation / MIT Press Series in Contemporary Architectural Discourse)

Paul Shepheard

The Cultivated Wilderness: Or, What is Lanscape? (Graham Foundation / MIT Press Series in Contemporary Architectural Discourse) Paul Shepheard Amazon Price: $45.00
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Customer Reviews:
Total reviews: 1 Average rating: 5.0 of 5

among the most exciting books on the subject I have read 5 out of 5 stars.
18 of 18 people found this review helpful.

Shepheard's book is among the most exciting I have read in a very long time--even though I still don't quite know what it is. Is it what, as a university press publication, one might suppose it to be, a work of "scholarship"? is it instead, as, having read it, I now almost think, a very nearly poetic meditation on the interactions between human beings and their environment? I can say neither with certainty. What it is, "certainly," is a set of essays that consider, among other things, what "wilderness" might mean to the human beings who interact with, live in, or stamp their presence over it; the seven wonders of the ancient world; the human presence in Antactica; Scotland; Flevoland and the Dutch polders; the relationship between London and its surroundings; and--in its last chapter--the western front. Each essay is characterized first and foremost by the author's idiosyncratic and playful voice. He writes like a cranky and opinionated human being speaking to other human beings, not like an academic ghost-in-the-book-as-machine addressing some equally dessicated conception of an academic reader. The essays are shot through with conversations (invented? recorded?), little dramas, vignettes, and a basketful of other irrelevancies--although they never turn out to be as irrelevant as you suppose. Each is also characterized by flashes of insight that strike you like lightbulbs going off at unpredictable intervals, page after page. Many years ago, an English professor named Robert Stevick wrote an essay attempting to define the "form" of a genre called "the anatomy." It had, back then, recently been made "famous" all over again by a Canadian name of Frye. Stevick's examples, as I recall, included not only melancholick Burton, more or less obviously, but also Swift's Tale of a Tub, Tristram Shandy, Sartor Resartus, Moby Dick, A la recherche du temps perdus, and Ulysses. At an MLA meeting in the late 1970s, I proposed that Anthony Powell's Dance to the Music of Time would be better understood in reference to this genre than if it were read (as it usually is) against the standards of realistic fiction; I still believe this argument is worth making in a more formal way than I did then, as an aside in a different argument, or here, as an assertion. Whatever else it may be, Shepheard's Cultivated Wilderness is the most recent major contribution to the anatomy genre I have come across. I also think it is simply brilliant. My pleasure in the book sent me looking, the day I finished it, for Shepheard's first book, What is Architecture? An Essay on Landscapes, Buildings, and Machines (MIT Press, 1994; paperback $9.95). I took me twenty-four hours to find a copy, which proved a bit frustrating. When I finally got my mitts on it, this earlier book also won me over. Art is everywhere [Shepheard writes]. As life has become detached from the wilderness, the human world is everywhere. I see music as a throbbing accompaniment to every moment of contemporary life, a sort of continuous current of emotion, that incorporates what poetry used to be. I see drama as a hugely expanded art that includes films and novels, which even has a new name, literature, and sucks in clothes and manners to itself as well. Architecture? Would we not all agree that architecture is much more than tombs and palaces and temples now? (p. 36) Do "we" all agree? Well, maybe yes . . . and maybe no. Page after page is filled with stuff that gets the ol' mental juices going, exciting agreement, provoking argument and disagreement, and inciting the reader to thought. If there is more to ask of a book, I am not sure what it is.

Editorial Review:

This book is about seeing things that are too big to see. Paul Shepheard has written about six landscapes, in order of descending scale, and has given each landscape a thematic heading. The Wilderness of the book's title is the world before humans appeared in it, and the Cultivation is everything we've done to it since. Landscape is another name for the strategies that have governed what we've done.

On Escape: De l'evasion (Cultural Memory in the Present)

Emmanuel Levinas

On Escape: De l'evasion (Cultural Memory in the Present) Emmanuel Levinas Amazon Price: $35.95
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Customer Reviews:
Total reviews: 1 Average rating: 5.0 of 5

An important early work by Levinas 5 out of 5 stars.
3 of 4 people found this review helpful.

Originally published in 1935, this English translation and publication of _On Escape_ brings the reader closer to the early thoughts and writings of Emmanuel Levinas than previous publications. His first major original manuscript after his dissertation on Husserl's theory of intuition, _Existence and Existents_, would not appear until 1947, and the lectures collected and published as _Time and the Other_ not until 1948, so the publication of this text should prove to be indispensable to English-reading audiences who have interests in Levinas' (early) work, as well as that of twentieth century Continental European philosophy. Here traditionally accepted phenomenological and existential concepts are introduced, studied, and discussed, such as the following: ontological Being, existents (beings), the identity of the self, the lived-body, radical finitude, etc.

The human subject, which modern philosophy has argued is dual in nature, no longer wishes to escape its existence, its Being; rather it seeks to be "delivered" or "deneutralized" from the world (47). As he concludes _Existence and Existents_, Levinas will later seek a way out of the there is (il y a), and discovers it in the concept of the hypostasis. One must go beyond Being to actualize this point. Philosophy, traditionally accepted, has not thought through the implications of such a task. Throughout history, philosophers have been too concerned with beings. Heidegger introduced the ontological distinction, and began teaching us to (re)think Being. Levinas now wishes to help us think through and beyond Being to get to the ethical relation to, and the infinite responsibility for, the absolute Other -- the other human being.

[for a longer review, go to: http://www.othervoices.org/2.3/mmichau/index.html]

Editorial Review:

First published in 1935, On Escape represents Emmanuel Levinas’s first attempt to break with the ontological obsession of the Western tradition. In it, Levinas not only affirms the necessity of an escape from being, but also gives a meaning and a direction to it. Beginning with an analysis of need not as lack or some external limit to a self-sufficient being, but as a positive relation to our being, Levinas moves through a series of brilliant phenomenological analyses of such phenomena as pleasure, shame, and nausea in order to show a fundamental insufficiency in the human condition.

In his critical introduction and annotation, Jacques Rolland places On Escape in its historical and intellectual context, and also within the context of Levinas’s entire oeuvre, explaining Levinas’s complicated relation to Heidegger, and underscoring the way Levinas’s analysis of “being riveted,” of the need for escape, is a meditation on the body.

Aesthetics and Ethics: Essays at the Intersection (Cambridge Studies in Philosophy and the Arts)

Aesthetics and Ethics: Essays at the Intersection (Cambridge Studies in Philosophy and the Arts) List Price: $59.95
By: Cambridge University Press
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Editorial Review:

This major collection of essays stands at the border of aesthetics and ethics and deals with charged issues of practical import: art and morality, the ethics of taste, and censorship. As such its potential interest is by no means confined to professional philosophers; it should also appeal to art historians and critics, literary theorists, and students of film. Prominent philosophers in both aesthetics and ethics tackle a wide array of issues. Some of the questions explored in the volume include: Can art be morally enlightening and, if so, how? If a work of art is morally better does that make it better as art? Is morally deficient art to be shunned, or even censored? Do subjects of artworks have rights as to how they are represented? Do artists have duties as artists and duties as human beings, and if so, to whom? How much tension is there between the demands of art and the demands of life?

Aesthetics: The Classic Readings (Philosophy: The Classic Readings)

Aesthetics: The Classic Readings (Philosophy: The Classic Readings) Amazon Price: $124.95
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Editorial Review:

This is the first volume to be published in an exciting new series of classic collections in philosophy.

The Metaphysics of Everyday Life: An Essay in Practical Realism (Cambridge Studies in Philosophy)

Lynne Rudder Baker

The Metaphysics of Everyday Life: An Essay in Practical Realism (Cambridge Studies in Philosophy) Lynne Rudder Baker Amazon Price: $78.69
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Editorial Review:

Lynne Rudder Baker presents and defends a unique account of the material world: the Constitution View. In contrast to leading metaphysical views that take everyday things to be either non-existent or reducible to micro-objects, the Constitution View construes familiar things as irreducible parts of reality. Although they are ultimately constituted by microphysical particles, everyday objects are neither identical to, nor reducible to, the aggregates of microphysical particles that constitute them. The result is genuine ontological diversity: people, bacteria, donkeys, mountains and microscopes are fundamentally different kinds of things - all constituted by, but not identical to, aggregates of particles. Baker supports her account with discussions of non-reductive causation, vagueness, mereology, artifacts, three-dimensionalism, ontological novelty, ontological levels and emergence. The upshot is a unified ontological theory of the entire material world that irreducibly contains people, as well as non-human living things and inanimate objects.

Driftworks (Semiotext(e) / Foreign agents)

Jean-Francois Lyotard

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By: Semiotext(e)
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Editorial Review:

Here is a course of action: harden, worsen, accelerate decadence. Adopt the perspective of active nihilism, exceed the mere recognition-be it depressive or admiring–of the destruction of all values. Become more and more incredulous. Push decadence further still and accept, for instance, to destroy the belief in truth under all its forms.

In this collection of essays and interviews from 1970-72, Jean-François Lyotard explores and drifts, as we drift, between art and politics, the "figural" and representation, silence and libidinal energy. Art becomes a deconstructing force that deals not with the signified of things but their form or plastic organization; and politics is the overturning of a mystified or alienated reality. The artists' reaction to capitalism, and their function, isn't anymore to create new good forms, but to deconstruct and accelerate their obsolescence. It is necessarily a critical activity.

In his essays dealing with Freud, Lyotard develops his thought on the figural and the unconscious as a topological space. Contrasting image-figure, form-figure, and matrix-figure, Lyotard establishes links between the order of desire and the figural through the category of transgression: transgression of the object, transgression of form, transgression of space. For him, the important thing is not to produce a consistent discourse but rather to produce "figures" within reality. For there is no point in changing social reality if all it does is set up the same form. Dealing with issues of depth and appearance, the body becomes a surface of inscription for flows of libidinal energy. We need to pay more attention to the silence of bodily organs which creates a tremendous dissonance: it is this silence that must be heard as the libido wanders through our bodies. What we enjoy in art is its ability to displace us, to make us drift.

Aesthetics and the Philosophy of Art: The Analytic Tradition: An Anthology (Blackwell Philosophy Anthologies)

Aesthetics and the Philosophy of Art: The Analytic Tradition: An Anthology (Blackwell Philosophy Anthologies) Amazon Price: $139.95
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Editorial Review:

This anthology provides comprehensive coverage of the major contributions of analytic philosophy to aesthetics and the philosophy of art, from the earliest beginnings in the 1950s to the present time. The volume presents the classics of this tradition, and in so doing displays the very foundations of modern debates. Aesthetics and the Philosophy of Art also features a selection of key papers from subsequent contributors that illustrate how the debates developed and how issues arose as analytic philosophers increasingly turned their attention to this area.

The volume is a comprehensive guide for students and researchers in aesthetics and philosophy of art, conveniently making available all those papers most often cited. The papers are grouped into sections, ordered chronologically, and covering theoretical topics – identifying art, ontology, aesthetic properties, intention and interpretation, values of art, fictionality – as well as particular art forms, including pictorial art, literature, music, and the popular arts. A final section looks at the aesthetics of nature.


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