This comprehensive anthology provides a collection of classic and contemporary readings in continental aesthetics. Spanning Romanticism through Modernism to Postmodernism, the volume includes landmark texts that have sparked renewed interest in aesthetics, including works by Schiller, Kant, Nietzsche, Hegel, Heidegger, Sartre, Luk?cs, Habermas, Foucault, Kristeva, and Derrida.

The Continental Aesthetics Reader brings together classic and contemporary writings on art and aesthetics from the major figures in continental thought. The second edition is clearly divided into seven sections: Nineteenth-Century German Aesthetics Phenomenology and Hermeneutics Marxism and Critical Theory Excess and Affect Embodiment and Technology Poststructuralism and Postmodernism Aesthetic Ontologies. Each section is clearly placed in its historical and philosophical context, and each philosopher has an introduction by Clive Cazeaux. An updated list of readings for this edition includes selections from Agamben, Butler, Guattari, Nancy, Virilio, and iek. Suggestions for further reading are given, and there is a glossary of over fifty key terms. Ideal for introductory courses in aesthetics, continental philosophy, art, and visual studies, The Continental Aesthetics Reader provides a thorough introduction to some of the most influential writings on art and aesthetics from Kant and Hegel to Badiou and Ranci.

Art and Institution examines how for Merleau-Ponty the work of art opens up, without conceptualizing, the event of being. Rajiv Kaushik treats Merleau-Ponty's renderings of the artwork - specifically in his later writings during the period ranging from 1952-1961 - as a path into the being that precedes phenomenology. Replete with references to Merleau-Ponty's reflections on Matisse, Cézanne, Proust and others, and featuring Kaushik's own original reflections on various artworks, this book is guided by the notion that art does not iterate the findings of phenomenology so much as it allows phenomenology to finally discover what, as a matter of principle, it seeks: the very foundation of experience that is not itself available to thought. Kaushik is thus concerned with the ways in which the work of art restores the principle of institution, prior to the intentional structures of consciousness, so that phenomenology may settle questions concerning ontological difference, the origination of significance, and the relationship between interiority and exteriority.

This book is a fully updated and expanded new edition of An Introduction to Continental Philosophy, first published in 1996. It provides a clear, concise and readable introduction to philosophy in the continental tradition. It is a wide-ranging and reliable guide to the work of such major figures as Nietzsche, Habermas, Heidegger, Arendt, Sartre, Foucault, Derrida and Žižek. At the same time, it situates their thought within a coherent overall account of the development of continental philosophy since the Enlightenment. Individual chapters consider the character of modernity, the Enlightenment and its continental critics; the ideas of Marxism, the Frankfurt School and Habermas; hermeneutics and phenomenology; existentialism; structuralism, post-structuralism and postmodernism. In addition to the thinkers already mentioned, there is extended discussion of the ideas of Kant, Hegel, Dilthey, Husserl, Gadamer, Kierkegaard, de Beauvoir and Lyotard. The new edition includes an additional, full-length chapter on continental philosophy in the twenty-first century focusing on Giorgio Agamben, Alain Badiou and Slavoj Žižek. Continental Philosophy: An Introduction is an invaluable introductory text for courses on continental philosophy as well as courses in the humanities and social sciences dealing with major figures or influential approaches within that tradition.

Critchley discusses the ideas and approaches of philosophers such as Kant, Hegel, Nietzsche, and Husserl, and introduces key concepts such as existentialism, nihilism, and phenomenology by explaining their place in the continental tradition.

This book is the first systematic reconstruction of Castoriadis's philosophical trajectory. It critically interprets the shifts in his ontology by reconsidering the ancient problematic of human institution(nomos) and nature(physis), on the one hand, and the question of beingand creation, on the other.Unlike the order of physis, the order of nomos has played no substantial role in the development of Western thought. The first part of the book suggests that Castoriadis sought to remedy this by elucidating the social-historical as the region of being that eludes the determinist imaginary of inherited philosophy. This ontological turn was announced in his 1975 magnum opus, The Imaginary Institution of Society.With the aid of archival sources, the second half of the book reconstructs a second ontological shift in Castoriadis's thought that occurred during the 1980s. The author argues that Castoriadis extends his notion of ontological creationbeyond the human realm and into nature. This move has implications for his overall ontology and signals a shift toward a general ontology of creative physis

Over the last few decades there has been a phenomenal growth of interest in metaphor as a device which extends or revises our perception of the world. Clive Cazeaux examines the relationship between metaphor, art and science, against the backdrop of modern European philosophy and, in particular, the work of Kant, Heidegger and Merleau-Ponty. He contextualizes recent theories of the cognitive potential of metaphor within modern European philosophy and explores the impact which the notion of cognitive metaphor has on key positions and concepts within aesthetics, epistemology and the philosophy of science.

If anything marks the image, it is a deep ambivalence. Denounced as superficial, illusory, and groundless, images are at the same time attributed with exorbitant power and assigned a privileged relation to truth. Mistrusted by philosophy, forbidden and embraced by religions, manipulated as “spectacle” and proliferated in the media, images never cease to present their multiple aspects, their paradoxes, their flat but receding spaces. What is this power that lies in the depths and recesses of an image—which is always only an impenetrable surface? What secrets are concealed in the ground or in the figures of an image—which never does anything but show just exactly what it is and nothing else? How does the immanence of images open onto their unimaginable others, their imageless origin? In this collection of writings on images and visual art, Jean-Luc Nancy explores such questions through an extraordinary range of references. From Renaissance painting and landscape to photography and video, from the image of Roman death masks to the language of silent film, from Cleopatra to Kant and Heidegger, Nancy pursues a reflection on visuality that goes far beyond the many disciplines with which it intersects. He offers insights into the religious, cultural, political, art historical, and philosophical aspects of the visual relation, treating such vexed problems as the connection between image and violence, the sacred status of images, and, in a profound and important essay, the forbidden representation of the Shoah. In the background of all these investigations lies a preoccupation with finitude, the unsettling forces envisaged by the images that confront us, the limits that bind us to them, the death that stares back at us from their frozen traits and distant intimacies. In these vibrant and complex essays, a central figure in European philosophy continues to work through some of the most important questions of our time.

A collection of essays devoted to the concept of hospitality from different disciplinary perspectives such as philosophy, politics, anthropology, aesthetics, ethics, and translation studies.

The Oxford Handbooks series is a major new initiative in academic publishing. Each volume offers an authoritative and up-to-date survey of original research in a particular subject area. Specially commissioned essays from leading figures in the discipline give critical examinations of the progress and direction of debates. Oxford Handbooks provide scholars and graduate students with compelling new perspectives upon a wide range of subjects in the humanities and social sciences. The Oxford Handbook of Continental Philosophy is the definitive guide to the major themes of the continental European tradition in philosophy in the nineteenth and twentieth centuries. Brian Leiter and Michael Rosen have assembled a stellar group of contributors who provide a thematic treatment of continental philosophy, treating its subject matter philosophically and not simply as a series of museum pieces from the history of ideas. The scope of the volume is broad, with discussions covering a wide range of philosophical movements including German Idealism, existentialism, phenomenology, Marxism, postmodernism, and critical theory, as well as thinkers like Hegel, Marx, Nietzsche, Freud, Heidegger, and Foucault. This Handbook will be an essential reference point for graduate students and professional academics working on continental philosophy, as well as those with an interest in European literature, the history of ideas, and cultural studies.