IN THE winter and spring of 1031,1 was invited to give a series of ten lectures at Harvard University. The subject chosen was the Philosophy of Art; the lectures are the origin of the present volume. The Lectureship was founded in memory of William James and I esteem it a great honor to have this book associated even indirectly with his distinguished name. It is a pleasure, also, te recall, in connection with the lectures, the unvarying kindness and hospitality of (...) my colleagues in the department of philosophy at Harvard. I am somewhat embarrassed in an effort to acknowledge indebtedness to other writers on the subject. Some aspects of it may be inferred from authors mentioned or quoted in the text. I have read on the subject for many years, however, more or less widely in English literature, somewhat less in French and still less in German, and I have absorbed much from sources which I cannot now directly recall. Moreover, my obligations to a number of writers are much greater than might be gathered from allusions to them in the volume itself. My indebtedness to those who have helped me directly can be more easily stated. Dr. Joseph Ratner gave me a number of valuable references. Dr. Meyer Schapiro was good enough to read the twelfth and thirteenth chapters and to make suggestions which I have freely adopted. Irwin Edman read a large part of the book in manuscript and I owe much to his suggestions and criticism. Sidney Hook read many of the chapters, and their present form is largely the result of discussions with him; this statement is especially true of the chapters on criticism and the last chapter. My greatest indebtedness is to Dr. A. C. Barnes. The chaptershave been gone over one by one with him, and yet what I owe to his comments and suggestions on this account is but a small measure of my debt. I have had the benefit of con versations with him through a period of years, many of which occurred in the presence of the unrivaled collection of pictures he has assembled. The influence of these conversations, together with that of his books, has been a chief factor in shapingmy own thinking about the philosophy of esthetics. Whatever is sound in this volume is due more than I can say to the great educational work carried on in the Barnes Foundation. That work is of a pioneer quality comparable to the best that has been done in any field during the present generation, that of science not ex cepted. I should be glad to think of this volume as one phase of the widespread influence the Foundation is exercising. I am indebted to the Barnes Foundation for permission to reproduce a number of illustrations and to Barbara and Willard Morgan for the photographs from which the reproductions were made. J. D. (shrink)

The new series of Ideen&Argumente subscribes to the ideal of a pluralist and open culture of argument and debate and presents well-produced volumes on topics and questions which make substantive or methodologically important contributions to contemporary philosophy. The publications are designed to effect a productive synergy between the Anglo-Saxon and Continental European philosophical traditions. Ideen&Argumente provides a platform for outstanding systematically oriented original editions and German first editions from all areas of Theoretical and Practical Philosophy. A welcome is extended to (...) programmatic monographs from whatever philosophical direction. The aim is to highlight anew the thematic and methodological richness of contemporary philosophy. (shrink)

Few cinephiles would deny the importance of mood in film, yet the aesthetics of mood are curiously overlooked today. On the one hand, mood is an essential dimension of cinema: we define certain genres, for example, by suggesting the moods they evoke. On the other hand, words frequently fail us when we try to articulate such moods in a more abstract or analytical vein. I offer in this essay some critical reflections on the significance of mood, suggesting that mood works (...) in narrative film by the disclosure of cinematic worlds. To explore variations in the aesthetics of mood — what I call disclosive, episodic, transitional and autonomous moods — I shall consider some selected mood-sequences from Brokeback Mountain, Fa yeung nin wa/In the Mood for Love, Habla con ella/Talk to Her and Mulholland Drive. My aim is to suggest the virtues of taking a more phenomenological approach to the aesthetics of mood, understood as a way of revealing or opening up a cinematic world; and to show how mood, in revealing distinctive cinematic worlds, is essential to our aesthetic and emotional engagement with film. (shrink)

What is music, what is its value, and what does it mean? In this stimulating volume, Roger Scruton offers a comprehensive account of the nature and significance of music from the perspective of modern philosophy. The study begins with the metaphysics of sound. Scruton distinguishes sound from tone; analyzes rhythm, melody, and harmony; and explores the various dimensions of musical organization and musical meaning. Taking on various fashionable theories in the philosophy and theory of music, he presents a compelling case (...) for the moral significance of music, its place in our culture, and the need for taste and discrimination in performing and listening to it. Laying down principles for musical analysis and criticism, this bold work concludes with a theory of culture--and a devastating demolition of modern popular music. "A provocative new study."--The Guardian. (shrink)

An attitude which hopes to derive aesthetic pleasure from an object is often thought to be in tension with an attitude which hopes to derive knowledge from it. The current article argues that this alleged conflict only makes sense when the aesthetic attitude and knowledge are construed unnaturally narrowly, and that when both are correctly understood there is no tension between them. To do this, the article first proposes a broad and satisfying account of the aesthetic attitude, and then considers (...) and rejects twelve reasons for thinking that deriving knowledge from something is incompatible with maintaining an aesthetic attitude towards it. Two main conclusions are drawn. 1) That the representational arts are often in a good position to communicate non-propositional knowledge about human beings. 2) That while our desire to obtain pleasure from a work's manifest properties, and our desire to obtain knowledge from it, are not the same motive, the formal similarities between them are sufficiently impressive to warrant both being seen as elements of the aesthetic attitude. (shrink)

In recent years, the philosophy of art has profited enormously by applying to the study of art insights derived from the philosophies of mind and language, naturalized epistemology, psychology, evolutionary theory, and cognitive science. A case in point: the discussion of the nature of picturing and pictorial perception has obviously benefited from the influence of perceptual psychology and cognitive studies. Likewise, the theorization of art in relation to the emotions has also exploited contemporary advances in adjacent areas of inquiry.

In this book, Rebekka Hufendiek explores emotions as embodied, action-oriented representations, providing a non-cognitivist theory of emotions that accounts for their normative dimensions. _Embodied Emotions_ focuses not only on the bodily reactions involved in emotions, but also on the environment within which emotions are embedded and on the social character of this environment, its ontological constitution, and the way it scaffolds both the development of particular emotion types and the unfolding of individual emotional episodes. In addition, it provides a critical (...) review and appraisal of current empirical studies, mainly in psychophysiology and developmental psychology, which are relevant to discussions about whether emotions are embodied as well as socially embedded. The theory that Hufendiek puts forward denies the distinction between basic and higher cognitive emotions: all emotions are embodied, action-oriented representations. This approach can account for the complex normative structure of emotions, and shares the advantages of cognitivist accounts of emotions without sharing their problems. _Embodied Emotions _makes an original contribution to ongoing debates on the normative aspects of emotions and will be of interest to philosophers working on emotions, embodied cognition and situated cognition, as well as neuroscientists or psychologists who study emotions and are interested in placing their own work within a broader theoretical framework. (shrink)

In this study, David Bordwell offers the first comprehensive account of how movies use fundamental principles of narrative representation, unique features of ...

Based on John Dewey's lectures on esthetics, delivered as the first William James Lecturer at Harvard in 1932, Art as Experience has grown to be considered internationally as the most distinguished work ever written by an American on the formal structure and characteristic effects of all the arts: architecture, sculpture, painting, music, and literature.

Vivian Sobchack considers the key roles our bodies play in making sense of the modern image-saturated culture. Emphasizing our corporeal rather than our intellectual engagements with film, she shows how our experience always emerges through our senses & how our bodies are sense-making, visual sunjects.

Beim Stichwort ”Kognition“ denken die meisten an das Gehirn, Computermodelle oder Informationsverarbeitung. In der realen Welt treffen wir aber immer nur auf Wesen mit Körpern, die in eine Umwelt eingebunden und in ihr aktiv sind. Kognition findet nicht im Kopf statt, sondern in der Welt. So lautet der Grundgedanke der Philosophie der Verkörperung. Die Hinwendung zu Körper und Umwelt stellt eine der vielleicht weitreichendsten Neuorientierungen der modernen Kognitionswissenschaft und Philosophie dar, die auch unser Verständnis von Wissenschaft und Kultur prägen wird. (...) Der Band versammelt die Grundlagentexte zu diesem Thema zum ersten Mal in deutscher Sprache. (shrink)