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  1.  39
    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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  2. Richard Shusterman (2005). Making Sense and Changing Lives: Directions in Contemporary Pragmatism. Journal of Speculative Philosophy 19 (1):63-72.
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  3. Richard Shusterman (2002). Pragmatism and Criticism: A Response to Three Critics of Pragmatist Aesthetics. Journal of Speculative Philosophy 16 (1):26 - 38.
  4. Richard Shusterman (2003). Somaesthetics and The Second Sex: A Pragmatist Reading of a Feminist Classic. Hypatia 18 (4):106-136.
    This paper explains the discipline of somaesthetics, which emerges from pragmatism's concern with enhancing embodied experience and reconstructing the aesthetic in ways that make it more central to key philosophical concerns of knowledge, ethics, and politics. I then examine Beauvoir's complex treatment of the body in The Second Sex, assessing both her arguments that could support the pragmatic approach of somaesthetics but also those that challenge its bodily focus as a danger for feminism.
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  5.  23
    Richard Shusterman (1992). Pragmatist Aesthetics: Living Beauty, Rethinking Art. B. Blackwell.
    This much acclaimed book has emerged as neo-pragmatism's most significant contribution to contemporary aesthetics.
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  6. Richard Shusterman (1992). Pragmatism and Perspectivism on Organic Wholes. Journal of Aesthetics and Art Criticism 50 (1):56-58.
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  7.  14
    Richard Shusterman (1996). Practicing Philosophy: Pragmatism and the Philosophical Life. Routledge.
    Applying contemporary pragmatism to the crucial question of how philosophy can help us live better, Shusterman develops his distinctive aesthetic model of philosophical living that includes politics, somatics, and ethnicity, while critically engaging the rival views of Dewey, Wittgenstein, and Foucault, as well as Rorty, Putnam, Goodman, Habermas, and Cavell.
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  8. 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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  9.  31
    Richard Shusterman (1985). Books Reviews. British Journal of Aesthetics 25 (3):285-b-288.
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  10.  28
    Richard Shusterman (2000). Performing Live: Aesthetic Alternatives for the Ends of Art. Cornell University Press.
    The end of aesthetic experience -- Don't believe the hype -- The fine art of rap -- Affect and authenticity in country musicals -- The urban aesthetics of absence : pragmatist reflections in Berlin -- Beneath interpretation -- Somaesthetics and the body/media issue -- The somatic turn : care of the body in contemporary culture -- Multiculturalism and the art of living -- Genius and the paradox of self-styling.
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  11. Richard Shusterman (forthcoming). Home Alone? Self and Other in Somaesthetics and" Performing Live". Journal of Aesthetic Education.
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  12.  10
    Richard Shusterman (2002). Surface and Depth: Dialectics of Criticism and Culture. Cornell University Press.
    If aesthetics is both surface and depth, impassioned immediacy yet also critical distance of judgment, how can this doubleness be held together in one ...
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  13.  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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  14.  38
    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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  15. Richard Shusterman (1991). Form and Funk: The Aesthetic Challenge of Popular Art. British Journal of Aesthetics 31 (3):213-213.
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  16.  17
    Richard Shusterman (1999). Somaesthetics: A Disciplinary Proposal. Journal of Aesthetics and Art Criticism 57 (3):299-313.
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  17.  48
    Richard Shusterman (2010). Dewey's Art as Experience : The Psychological Background. Journal of Aesthetic Education 44 (1):pp. 26-43.
  18.  14
    Richard Shusterman (2002). The Phantom Table: Woolf, Fry, Russell and the Epistemology of Modernism. Common Knowledge 8 (3):551-551.
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  19. Richard Shusterman (1992). Pragmatist Aesthetics. Wiley-Blackwell.
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  20.  36
    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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  21.  20
    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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  22.  14
    Richard Shusterman (2004). Pragmatism and East-Asian Thought. Metaphilosophy 35 (1-2):13-43.
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  23.  40
    Richard Shusterman (1997). The End of Aesthetic Experience. Journal of Aesthetics and Art Criticism 55 (1):29-41.
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  24.  51
    Richard Shusterman (1994). On Analysing Analytic Aesthetics. British Journal of Aesthetics 34 (4):389-394.
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  25.  46
    Richard Shusterman (1986). Deconstruction and Analysis: Confrontation and Convergence. British Journal of Aesthetics 26 (4):311-327.
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  26.  51
    Richard Shusterman (1983). Osborne and Moore on Organic Unity. British Journal of Aesthetics 23 (4):352-359.
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  27. David R. Hiley, James Bohman & Richard Shusterman (eds.) (1991). The Interpretive Turn: Philosophy, Science, Culture. Cornell University Press.
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  28.  10
    Richard Shusterman (1982). Positivism: Legal and Aesthetic. [REVIEW] Journal of Value Inquiry 16 (4):319-325.
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  29.  39
    Richard Shusterman (2009). Somaesthetics and C. S. Peirce. Journal of Speculative Philosophy 23 (1):pp. 8-27.
  30.  8
    Richard Shusterman (1982). Four Problems in Aesthetics. International Philosophical Quarterly 22 (1):21-33.
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  31.  61
    Richard Shusterman (2003). Entertainment: A Question for Aesthetics. British Journal of Aesthetics 43 (3):289-307.
    Underlying the stubborn hierarchical dichotomy between high and popular art, there is a far more basic contrast at work—art versus entertainment. Yet the complex network of language games deploying these concepts reveals that entertainment is not simply contrasted to art but often identified with art as an allied or subsuming category. The arts are themselves sometimes described as forms of entertainment. Because the concept of entertainment is deeply and complexly related to the concept of art, and because it is also (...)
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  32.  24
    Richard Shusterman (2005). Somaesthetics and Burke's Sublime. British Journal of Aesthetics 45 (4):323-341.
    Burke is an important exception to Nietzsche's claim that philosophical aesthetics ignores physiology and the role of practical interest. Grounded on the powerful interest of survival, Burke's theory of the sublime also offers a physiological explanation of our feelings of sublimity that explicitly defines certain conditions of our nerves as the ‘efficient cause’ of such feelings. While his general account of sublimity is widely appreciated, its somatic dimension has been dismissed as hopelessly misguided. In examining Burke's views in relation to (...)
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  33.  25
    Richard Shusterman (2006). Thinking Through the Body, Educating for the Humanities: A Plea for Somaesthetics. Journal of Aesthetic Education 40 (1):1-21.
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  34.  59
    Richard Shusterman (1984). Aesthetic Censorship: Censoring Art for Art's Sake. Journal of Aesthetics and Art Criticism 43 (2):171-180.
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  35.  24
    Richard J. Shusterman (2004). Complexities of Aesthetic Experience: Response to Johnston. Journal of Aesthetic Education 38 (4):109-112.
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  36. Richard Shusterman (ed.) (1999). Bourdieu: A Critical Reader. Wiley-Blackwell.
    This Critical Reader provides a new perspective on the work of France's foremost social theorist Pierre Bourdieu, by examining its philosophical import and promoting a fruitful dialogue between Bourdieu and philosophers in the English-speaking world. The contributors include leading philosophers who critically assess Bourdieu's philosophical theories and their significance from diverse philosophical perspectives to reveal which dimensions of his thought are the most useful for philosophy today. These discussions also raise important questions about the current institutional limits of philosophy and (...)
     
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  37.  39
    Richard Shusterman (2011). Somatic Style. Journal of Aesthetics and Art Criticism 69 (2):147-159.
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  38.  14
    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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  39. Richard Shusterman (1989). Of the Scandal of Taste: Social Privilege as Nature in the Aesthetic Theories of Hume and Kant. Philosophica Forum 20 (3):211-229.
     
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  40.  34
    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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  41.  46
    Richard Shusterman (1986). Wittgenstein and Critical Reasoning. Philosophy and Phenomenological Research 47 (1):91-110.
  42.  23
    Richard Shusterman (1990). Beneath Interpretation. The Monist 73 (2):181-204.
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  43.  42
    Richard Shusterman (1978). The Anomalous Nature of Literature. British Journal of Aesthetics 18 (4):317-329.
  44.  7
    Richard Shusterman (2007). Fallibilism and Faith. Common Knowledge 13 (2):379-384.
  45.  29
    Richard Shusterman (2005). William James, Somatic Introspection, and Care of the Self. Philosophical Forum 36 (4):419–440.
  46. Richard Shusterman (2005). Aesthetics and Postmodernism. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. OUP Oxford
  47.  15
    Richard Shusterman (2000). Somaesthetics and Care of the Self. The Monist 83 (4):530-551.
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  48.  30
    Richard Shusterman (1980). A Tension in Eliot's Poetics. British Journal of Aesthetics 20 (3):248-253.
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  49.  42
    Richard Marc Shusterman (2009). Embodied Meaning and Aesthetic Experience. Phenomenology and the Cognitive Sciences 8 (2):261-265.
  50.  7
    Sarah Minden, Sankar Muthu, Richard Shusterman, Gerald Woolfson & Bernard Yack (1999). Of Cholc9/by James Miller. Social Research 66:4.
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