On Art and Selfhood lies at the intersection of existentialism and the philosophy of art. On the philosophy of art side, it addresses questions about why art matters and how we ought to appreciate it. On the existentialism side, it attends to questions pertaining to authenticity or authentic selfhood. That is to say, it focuses on issues and problems having to do with our personal identity or our sense of who we are. The goal of the book is to bring together these two topics in a productive manner by showing that works of art matter partly because they can help us with the project of selfhood. In other words, works of art are important in part because they can offer us much needed guidance and support as we try to figure out who we really are. To make the case for this thesis, On Art and Selfhood draws on the works of the Danish thinker, Søren Kierkegaard (1813-55). It mines his writings for insights regarding aesthetics and personal identity, and then uses these insights to contribute to current discussions of these topics. Thus, the book speaks not only to those with interests in contemporary analytic philosophy but also to those with interests in historical scholarship on Kierkegaard.

In the digital world, Kierkegaard's thought is valuable in thinking about aesthetics as a component of human development, both including but moving beyond the religious context as its primary center of meaning. Seeing human formation as interrelated with aesthetics makes art a vital dimension of human existence. Contributing to the debate about Kierkegaard's conception of the aesthetic, Kierkegaard, Aesthetics, and Selfhood argues that Kierkegaard's primary concern is to provocatively explore how a self becomes Christian, with aesthetics being a vital dimension for such self-formation. At a broader level, Peder Jothen also focuses on the role, authority, and meaning of aesthetic expression within religious thought generally and Christianity in particular.

It links the artist's autobiography to his painting, illuminating the man, his art, and his times. Peale emerges for the first time as that particularly American phenomenon: the self-made man."

A reimagining of how the aesthetic movement of the Victorian era ushered in modern queer theory. Late Victorian aesthetes were dedicated to the belief that an artwork's value derived solely from its beauty, rather than any moral or utilitarian purpose. Works by these queer artists have rarely been taken seriously as contributions to the theories of sexuality or aesthetics. But in Before Queer Theory, Dustin Friedman argues that aestheticism deploys its "art for art's sake" rhetoric to establish a nascent sense of sexual identity and community. Friedman makes the case for a claim rarely articulated in either Victorian or modern culture: that intellectually, creatively, and ethically, being queer can be an advantage not in spite but because of social hostility toward nonnormative desires. Showing how aesthetes—among them Walter Pater, Oscar Wilde, Vernon Lee, and Michael Field—harnessed the force that Georg Wilhelm Friedrich Hegel called "the negative," Friedman reveals how becoming self-aware of one's sexuality through art can be both liberating and affirming of humanity's capacity for subjective autonomy. Challenging one of the central precepts of modern queer theory—the notion that the heroic subject of Enlightenment thought is merely an effect of discourse and power—Friedman develops a new framework for understanding the relationship between desire and self-determination. He also articulates an innovative, queer notion of subjective autonomy that encourages reflecting critically on one's historical moment and envisioning new modes of seeing, thinking, and living that expand the boundaries of social and intellectual structures. Before Queer Theory is an audacious reimagining that will appeal to scholars with interests in Victorian studies, queer theory, gender and sexuality studies, and art history.

A brilliant distillation of the key ideas behind successful self-improvement practices throughout history, showing us how they remain relevant today Self-help today is a multi-billion-dollar global industry, one often seen as a by-product of neoliberalism and capitalism. Far from being a recent phenomenon, however, the practice of self-improvement has a long and rich history, extending all the way back to ancient China. For millennia, philosophers, sages, and theologians have reflected on the good life and devised strategies on how to achieve it. Focusing on ten core ideas of self-improvement that run through the world’s advice literature, Anna Katharina Schaffner reveals the ways they have evolved across cultures and historical eras, and why they continue to resonate with us today. Reminding us that there is much to learn from looking at time-honed models, Schaffner also examines the ways that self-improvement practices provide powerful barometers of the values, anxieties, and aspirations that preoccupy us at particular moments in time and expose basic assumptions about our purpose and nature.

"This book is mind-blowing. Nemerov is a groundbreaking thinker in his field."—John Wilmerding, Princeton University "This is a book for all serious Americanists."—Jay Fliegelman, author of Declaring Independence "Each haunting and delicately wrought canvas expands as Nemerov writes about it, so that his interpretive work both mirrors and supplements the wondrous intensity of the paintings themselves."—Ellen Handler Spitz, Museums of the Mind "Underneath their apparent simplicity, Raphaelle Peale's still lifes glow mysteriously in the dark light of their making. Peale transformed the common items of the early-nineteenth-century kitchen and market into explorations of the American unconscious. Now, writing as coolly and lucidly as Peale painted, Alexander Nemerov has unpeeled those still lifes in a tour de force of formalistic analysis. Through close interrogation of these small, hermetic images, Nemerov's book reveals the whole world of early America, in the process bringing us as close as possible to the genius of Raphaelle Peale."—David C. Ward, National Portrait Gallery, Smithsonian Institution. "This is a dazzling study, lively and imaginative, of an important body of work. Nemerov's novel arguments regarding still life in general and Raphaelle Peale in particular reveal much about the art, the man, and the times. It is a thoughtful and provocative book, certain to generate interest and debate. "—Charles C. Eldredge, Hall Distinguished Professor of American Art and Culture, University of Kansas "A triumph of interpretation! Not since Michael Fried's groundbreaking account of Thomas Eakins has a critic so reimagined the very terms by which we see painting. Nemerov's account singlehandedly catapults a painter we had previously considered to be interesting, but minor, into the forefront of discussions about American art during the early National Period. The Body of Raphaelle Peale will no doubt spark the beginning of an exciting revival of scholarship in American Romantic painting."—Bryan J. Wolf, author of Romantic Re-Vision

Reveals why the domestic interior figured prominently in visual culture from the 1850s to 1920s.

In this book, Hertha D. Sweet Wong examines the intersection of writing and visual art in the autobiographical work of twentieth- and twenty-first-century American writers and artists who employ a mix of written and visual forms of self-narration. Combining approaches from autobiography studies and visual studies, Wong argues that, in grappling with the breakdown of stable definitions of identity and unmediated representation, these writers-artists experiment with hybrid autobiography in image and text to break free of inherited visual-verbal regimes and revise painful histories. These works provide an interart focus for examining the possibilities of self-representation and self-narration, the boundaries of life writing, and the relationship between image and text. Wong considers eight writers-artists, including comic-book author Art Spiegelman; Faith Ringgold, known for her story quilts; and celebrated Indigenous writer Leslie Marmon Silko. Wong shows how her subjects formulate webs of intersubjectivity shaped by historical trauma, geography, race, and gender as they envision new possibilities of selfhood and fresh modes of self-narration in word and image.

The notion of disinterestedness is often conceived of as antiquated or ideological. In spite of this, Hilgers argues that one cannot reject it if one wishes to understand the nature of art. He claims that an artwork typically asks a person to adopt a disinterested attitude towards what it shows, and that the effect of such an adoption is that it makes the person temporarily lose the sense of herself, while enabling her to gain a sense of the other. Due to an artwork’s particular wealth, multiperspectivity, and dialecticity, the engagement with it cannot culminate in the construction of world-views, but must initiate a process of self-critical thinking, which is a precondition of real self-determination. Ultimately, then, the aesthetic experience of art consists of a dynamic process of losing the sense of oneself, while gaining a sense of the other, and of achieving selfhood. In his book, Hilgers spells out the nature of this process by means of rethinking Kant’s and Schopenhauer’s aesthetic theories in light of more recent developments in philosophy–specifically in hermeneutics, critical theory, and analytic philosophy–and within the arts themselves–specifically within film and performance art.

"The Deceivers explores the intersections among artistic crime, literary narrative, and the definition of identity. Through close reading of literary narratives such as Trilby and The Marble Faun as well as newspaper accounts of forgery scandals, The Deceivers reveals the identities - both authentic and fake - that emerged from the Victorian culture of forgery."--BOOK JACKET.