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  1. Richard Shusterman (forthcoming). Home Alone? Self and Other in Somaesthetics and" Performing Live". Journal of Aesthetic Education.
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  2. Richard Shusterman (2014). Le Style À L’État Vif: Somaesthétique, Art Populaire Et Art de Vivre. Questions Théoriques.
    L’esthétique pragmatiste se distingue de la tradition philosophique en ce qu’elle ne cherche pas à séparer l’art de ce qui n’en est pas. Elle conçoit nos expériences esthétiques dans la continuité de celles qu’occasionnent nos diverses pratiques de vie, publiques comme privées.Comment penser cette continuité? C’est l’enjeu principal de ce livre, qui examine la question sous deux aspects. Les premiers chapitres retissent les liens qui nous permettent de comprendre comment nos concepts esthétiques les plus spécifi ques, ceux que nous utilisons (...)
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  3. R. Shusterman (2013). Body and the Arts: The Need for Somaesthetics. Diogenes 59 (1-2):7-20.
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  4. Richard Shusterman (2013). Die Stimmung der Tatkraft Und Ihr Denken: Pragmatismus Als Eine Philosophie des Fühlens. Deutsche Zeitschrift für Philosophie 61 (5-6):643-664.
    Pragmatism is usually understood as a philosophy defined through action, but philosophical thought is typically contrasted with action. Where do we get the psychic energy for action, if thought is not its effective motor? Affect is the pragmatist answer proposed here. Our passionate nature, our feelings, emotions, or mood provide the dynamic trigger for action, including the action involved in cognition and inquiry. This paper explores the crucial, multiple cognitive roles that affect plays in pragmatism’s three founding fathers, Charles Sanders (...)
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  5. Richard Shusterman (2013). Um Pensamento Sobre O Humor Extenuante: o Pragmatismo como uma filosofia do sentimento. Redescrições 5 (1).
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  6. Richard Shusterman (2012). Back to the Future: Aesthetics Today. Nordic Journal of Aesthetics 23 (43).
    This paper originated as the keynote address at the conference “Aesthetics Today” organized by the Finnish Society of Aesthetics to mark its 40th anniversary and was delivered at the University of Helsinki on March 1, 2012. Written for that particular occasion the sense of an oral presentation has been maintained. Shusterman’s point of departure is the thesis that contemporary aesthetics can be characterized by a number of leading themes that mark a return to older aesthetic perspectives, after these perspectives have (...)
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  7. Richard Shusterman (2012). Photography as Performative Process. Journal of Aesthetics and Art Criticism 70 (1):67-78.
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  8. Richard Shusterman (2012). Thinking Through the Body: Essays in Somaesthetics. Cambridge University Press.
    Thinking through the body: educating for the humanities -- The body as background -- Self-knowledge and its discontents: from Socrates to somaesthetics -- Muscle memory and the somaesthetic pathologies of everyday life -- Somaesthetics in the philosophy classroom: a practical approach -- Somaesthetics and the limits of aesthetics -- Somaesthetics and Burke's sublime -- Pragmatism and cultural politics: from textualism to somaesthetics -- Body consciousness and performance -- Somaesthetics and architecture: a critical option -- Photography as performative process -- Asian (...)
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  9. Richard Shusterman & Inês Araújo (2012). Arte e Religião. Redescrições 3 (3).
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  10. Hans-Peter Krüger & Richard Shusterman (2011). Schwerpunkt: Leiblichkeit und Reflexion. Deutsche Zeitschrift für Philosophie 59 (4):538-538.
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  11. R. Shusterman (2011). The Pragmatist Aesthetics of William James. British Journal of Aesthetics 51 (4):347-361.
    Although William James wrote no philosophical treatise on aesthetics, he can be seen as an important source for pragmatist aesthetics. This paper reconstructs James's aesthetic views from his diverse writings that demonstrate a keen regard for the arts and for the central, pervasive importance of the aesthetic dimension of experience, a dimension he saw as closely linked to the rational and practical. Special attention is given to his path-blazing The Principles of Psychology which precedes James's explicit pragmatist stage but contains (...)
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  12. Richard Shusterman (2011). Enhanced Cognition, Ethics, and Some Problems of Self-Knowledge. Journal of Speculative Philosophy 25 (1):3-21.
    Advances in neuroscience and its related technologies promise significant forms of cognitive enhancement, chiefly through the development of drugs, genetic engineering and screening, and electronic devices for augmenting brain functions. Such advances, however, raise a complex cluster of ethical questions that should increasingly concern us in the future as these technologies become more prevalent, powerful, and wide ranging in their effects. Most ethical dilemmas and debates about enhanced cognition seem to focus on our relation to others. These ethical controversies typically (...)
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  13. Richard Shusterman (2011). Feeling Beyond the Text: Reflections on The Rorty Reader. Contemporary Pragmatism 8 (2):205-212.
    Examining key themes presented in the excellent Rorty Reader, this essay also argues that Rorty's philosophical import extends beyond the propositional content of his texts. After indicating how Rorty's central philosophical stance of anti-representationalism is expressed in his aestheticist advocacy of a pluralist literary culture and his theory that ethics and moral progress can be properly based only on sentiments rather than rationality, the paper explains why his philosophy should have therefore embraced the role of embodied experience rather than rejecting (...)
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  14. Richard Shusterman (2011). Somatic Style. Journal of Aesthetics and Art Criticism 69 (2):147-159.
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  15. Richard Shusterman (2011). Soma, Self, and Society: Somaesthetics as Pragmatist Meliorism. Metaphilosophy 42 (3):314-327.
    Abstract: This article explains the pragmatist project of somaesthetics in five different ways. First, it clarifies the notion of soma as encompassing both subjective intentionality and material objectivity in the world. Second, it highlights the social dimensions of somaesthetics, building on the basic insight that the soma is always shaped by the social and physical environments in which it is nested. Third, it examines the similarities and differences between somaesthetics and the Merleau-Ponty tradition of somatic phenomenology, while answering some of (...)
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  16. Richard Shusterman (2011). Soma und Psyche. Deutsche Zeitschrift für Philosophie 59 (4):539-552.
    After tracing some of the different interpretations of the Körper/Leib distinction in German phenomenology and philosophical anthropology, this paper compares these philosophical accounts of embodiment to the pragmatist approach of somaesthetics and its core concept of soma. Helmuth Plessner′s theory of embodiment gets particular attention because of its similarities to somaesthetics in terms of their shared emphasis on 1) the value of functional phasing between immanent spontaneity of simply living one′s body and more critically distanced somatic reflection, 2) the way (...)
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  17. Richard Shusterman & Brigitte Rollet (2011). Le corps et les arts : le besoin de soma-esthétique. Diogène 233 (1):9.
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  18. John J. Stuhr, Richard Shusterman, Mary Magada-Ward, Jessica Wahman, William S. Lewis, Michael Hg Hoffmann, Eric Thomas Weber & Jacquelyn Ak Kegley (2011). 1. Front Matter Front Matter (Pp. I-Iv). Journal of Speculative Philosophy 25 (1).
     
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  19. Peter Kivy, Noël Carroll, Susan L. Feagin, Donald Crawford, Richard Shusterman, Estelle R. Jorgensen, Haroldo Abraam Fontaine, Christopher Perricone, Michael Weh & Sk Wertz (2010). 1. Front Matter Front Matter (Pp. Iv). Journal of Aesthetic Education 44 (1).
     
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  20. Richard Shusterman (2010). Dewey's Art as Experience : The Psychological Background. Journal of Aesthetic Education 44 (1):pp. 26-43.
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  21. Richard Shusterman (2010). Fallibilizm i wiara. Studia Philosophica Wratislaviensia:189-196.
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  22. Richard Shusterman (2010). Philosophy as Literature and More Than Literature. In Garry Hagberg & Walter Jost (eds.), A Companion to the Philosophy of Literature. Wiley-Blackwell.
     
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  23. Richard Shusterman (2010). Soma and Psyche. Journal of Speculative Philosophy 24 (3):205-223.
    In the ancient legend of Cupid and Psyche, Venus was jealous of Psyche’s beauty and plotted to punish her by binding her through love to a hideous creature that would appear once Cupid scratched Psyche with his arrow of desire while she slept, so that she would fall in love with the next thing she saw upon awakening. But when Cupid saw her beauty, he was so overwhelmed that he accidentally wounded himself with his own arrow and thus fell deeply (...)
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  24. Richard Shusterman, Gernot Böhme, Thomas Fuchs, Hans-Peter Krüger, Gesa Lindemann, Millay Hyatt, Andreas Heinz & Ulrike Kluge (2010). 1. Front Matter Front Matter. Journal of Speculative Philosophy 24 (3).
     
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  25. Gillian Howie, Michael Mcghee, Phil Hutchinson, Michael Loughlin, Richard Shusterman & William Edelglass (2009). Teaching Philosophy. Continuum.
    In the current academic climate, teaching is often seen as secondary to research. Teaching Philosophy seeks to bring teaching philosophy higher on the academic agenda.An international team of contributors, all of whom share the view that philosophy is a subject that can transform students, offers practical guidance and advice for teachers of philosophy. The book suggests ways in which the teaching of philosophy at undergraduate level might be facilitated. Some of the essays place the emphasis on individual self discovery, others (...)
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  26. Richard Shusterman (2009). Body Consciousness and Performance: Somaesthetics East and West. Journal of Aesthetics and Art Criticism 67 (2):133-145.
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  27. Richard Shusterman (2009). Book Review: Alain L. Locke: The Biography of a Philosopher. [REVIEW] Education and Culture 25 (1):10.
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  28. Richard Shusterman (2009). Context and Cultural Understanding. Nordic Journal of Aesthetics 20 (36-37).
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  29. Richard Shusterman (2009). Körperbewusstsein und Handeln. Deutsche Zeitschrift für Philosophie 57 (6):831-844.
    To what extent is explicit and reflective body consciousness useful in improving our performance of action? Having examined why influential Western and Asian philosophers have denied the value of such awareness, asserting instead the superiority of spontaneous action, this paper then offers a more nuanced position by showing the ways and contexts in which such body consciousness can improve our action. This is done through a close reading of some classical Chinese and Japanese texts together with some recent studies in (...)
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  30. Richard Shusterman (2009). Paying Attention. The Philosophers' Magazine 45 (45):82-82.
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  31. Richard Shusterman (2009). Pragmatist Aesthetics and Confucianism. Journal of Aesthetic Education 43 (1):pp. 18-29.
  32. Richard Shusterman (2009). Somaesthetics and C. S. Peirce. Journal of Speculative Philosophy 23 (1):pp. 8-27.
  33. Richard M. Shusterman (2009). Alain L. Locke: The Biography of a Philosopher. Education and Culture 25 (1):pp. 76-79.
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  34. Richard Marc Shusterman (2009). Embodied Meaning and Aesthetic Experience. Phenomenology and the Cognitive Sciences 8 (2):261-265.
  35. Richard Shusterman (2008). Art and Religion. Journal of Aesthetic Education 42 (3):pp. 1-18.
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  36. Richard Shusterman (2008). Body Consciousness: A Philosophy of Mindfulness and Somaesthetics. Cambridge University Press.
    Contemporary culture increasingly suffers from problems of attention, over-stimulation, and stress, and a variety of personal and social discontents generated by deceptive body images. This book argues that improved body consciousness can relieve these problems and enhance one’s knowledge, performance, and pleasure. The body is our basic medium of perception and action, but focused attention to its feelings and movements has long been criticized as a damaging distraction that also ethically corrupts through self-absorption. In Body Consciousness, Richard Shusterman refutes such (...)
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  37. Richard Shusterman (2008). Dewey's Somatic Philosophy. Revue Internationale de Philosophie 3:293-311.
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  38. Richard Shusterman (2008). Somaesthetics at the Limits. Nordic Journal of Aesthetics 19 (35).
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  39. Richard Shusterman (2008). The Good Life, The Examined Life, and the Embodied Life. Human Affairs 18 (2).
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  40. R. Shusterman (2007). Book Review: How the Body Shapes the Mind. [REVIEW] Theory, Culture and Society 24 (1):152-156.
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  41. Richard Shusterman (2007). Asian Ars Erotica and the Question of Sexual Aesthetics. Journal of Aesthetics and Art Criticism 65 (1):55–68.
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  42. Richard Shusterman (2007). Fallibilism and Faith. Common Knowledge 13 (2):379-384.
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  43. Richard M. Shusterman (2007). Somaesthetics and the Revival of Aesthetics. Filozofski Vestnik 2.
    This paper examines the ten-year history of somaesthetics – describing the field's origins and genealogical roots, explaining its terminology, analyzing its structure, tracing its reception, exploring its most interesting applications, and responding to the most important criticisms that have been directed at it. Somaesthetics, as the paper shows, emerges from the framework of my work in pragmatist aesthetics which sought to revive aesthetics by bringing art closer to life and bridging the presumed divide between the aesthetic and the practical while (...)
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  44. Richard Shusterman & Adele Tomlin (2007). Aesthetic Experience. In Michael Beaney (ed.), The Analytic Turn: Analysis in Early Analytic Philosophy and Phenomenology. Routledge.
    consist (in part) in our taking pleasure in the awe or wonder we feel towards them.'' But although forms of awe and wonder are feelings that at least some ...
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  45. R. Shusterman (2006). The Aesthetic. Theory, Culture and Society 23 (2-3):237-243.
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  46. Richard Shusterman (2006). Aesthetics. In John R. Shook & Joseph Margolis (eds.), A Companion to Pragmatism. Blackwell Pub..
     
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  47. Richard Shusterman (2006). A Body of Knowledge. The Philosophers' Magazine 36 (36):18-24.
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  48. Richard Shusterman (2006). Auf der Suche nach der ästhetischen Erfahrung. Von der Analyse zum Eros. Deutsche Zeitschrift für Philosophie 54 (1/2006):3-20.
    Durch eine Untersuchung der verschiedenen Konzeptionen und Elemente, die im Begriff der ästhetischen Erfahrung angelegt sind, und durch die Unterscheidung der mit ihnen verbundenen Logiken und Ziele versucht der Beitrag, zu einem besseren Verständnis der vielfältigen semantischen und evaluativen Dimensionen dieses Begriffs zu gelangen. Dabei wird zudem für eine Anerkennung der ästhetischen Dimension sexueller Erfahrungen plädiert, die gewöhnlich aus dem Bereich der ästhetischen Erfahrung ausgeschlossen werden.
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  49. Richard Shusterman (2006). Aesthetic Experience: From Analysis to Eros. Journal of Aesthetics and Art Criticism 64 (2):217–229.
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  50. Richard Shusterman (2006). The Aesthetic. Theory, Culture and Society 2:237-243.
    First coined in modernity, the aesthetic is a vague, polysemic and contested concept whose complexities arise from the variety of the ways it has been defined in the history of its theorization, but also in its formative prehistory in theories of art and beauty that preceded its modern coinage. After noting key points of that prehistory, the article traces three major modern tendencies in construing the aesthetic: as a special mode of sensory perception or experience that is relevant to life (...)
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