The articles in this volume reflect upon the intersections of corporeity and affectivity in Maurice Merleau-Ponty’s phenomenology. They illuminate the meaning of his phenomenology regarding corporeity and affectivity from various phenomenological perspectives. Corporeity and Affectivity explores his invaluable contribution in interdisciplinary and trans-disciplinary respect, including the humanities, the arts and the sciences. Contributors include: Alexei Chernyakov (†), Jagna Brudzińska, Universität Köln, IFiS PAN Warschau, Nicola Zippel, Sapienza University of Rome, Department of Philosophy, Karel Novotný, Faculty of Humanities, Charles University of Prague, James Mensch, Charles University in Prague, Faculty of Humanities, Annabelle Dufourcq, Charles University Prague, Faculty of Humanities, Juho Hotanen, University of Helsinki, Silvia Stoller, Universität Wien, Pierre Rodrigo, Université de Bourgogne, Dijon, Antonino Firenze, University Pompeu Fabra, Barcelona, Shaun Gallagher, University of Memphis, Department of Philosophy, Kwok-ying Lau, The Chinese University of Hong Kong, Monika Murawska, The Academy of Fine Arts, Warsaw, Irene Breuer, Bergische Universität Wuppertal, Mauro Carbone, Université “Jean Moulin” Lyon 3, Faculté de philosophie, László Tengelyi, Bergische Universität Wuppertal, Björn Thorsteinsson, University of Oceland, Institute of Philosophy, Mikkel B. Tin, Telemark University College, Porsgrunn, Tamás Ullmann, ELTE University of Budapest, Institute of Philosophy, Johann P. Arnason, La Trobe University, Melbourne; Charles University, Faculty of Humanities, Prague, Michael Staudigl, Vienna University, Department of Philosophy, Suzi Adams, Flinders University, Adelaide

This book explores the notion of affective space in relation to architecture. It helps to clarify the first-person, direct experience of the environment and how it impacts a person’s emotional states, influencing their perception of the world around them. Affective space has become a central notion in several discussions across philosophy, geography, anthropology, architecture and so on. However, only a limited selection of its key features finds resonance in architectural and urban theory, especially the idea of atmospheres, through the work of German phenomenologist Gernot Böhme. This book brings to light a wider range of issues bound to lived corporeal experience. These further issues have only received minor attention in architecture, where the discourse on affective space mostly remains superficial. The theory of atmospheres, in particular, is often criticized as being a surface-level, shallow theory as it is introduced in an unsystematic and fragmented fashion, and is a mere "easy to use" segment of what is a wider and all but impressionistic analytical method. This book provides a broader outlook on the topic and creates an entry point into a hitherto underexplored field. The book’s theoretical foundation rests on a wide range of non-architectural sources, primarily from philosophy, anthropology and the cognitive sciences, and is strengthened through cases drawn from actual architectural and urban space. These cases make the book more comprehensible for readers not versed in contemporary philosophical trends.

Music's ability to express and arouse emotions is a mystery that has fascinated both experts and laymen at least since ancient Greece. The predecessor to this book 'Music and Emotion' (OUP, 2001) was critically and commercially successful and stimulated much further work in this area. In the years since publication of that book, empirical research in this area has blossomed, and the successor to 'Music and Emotion' reflects the considerable activity in this area. The Handbook of Music and Emotion offers an 'up-to-date' account of this vibrant domain. It provides comprehensive coverage of the many approaches that may be said to define the field of music and emotion, in all its breadth and depth. The first section offers multi-disciplinary perspectives on musical emotions from philosophy, musicology, psychology, neurobiology, anthropology, and sociology. The second section features methodologically-oriented chapters on the measurement of emotions via different channels (e.g., self report, psychophysiology, neuroimaging). Sections three and four address how emotion enters into different aspects of musical behavior, both the making of music and its consumption. Section five covers developmental, personality, and social factors. Section six describes the most important applications involving the relationship between music and emotion. In a final commentary, the editors comment on the history of the field, summarize the current state of affairs, as well as propose future directions for the field. The only book of its kind, The Handbook of Music and Emotion will fascinate music psychologists, musicologists, music educators, philosophers, and others with an interest in music and emotion (e.g., in marketing, health, engineering, film, and the game industry). It will be a valuable resource for established researchers in the field, a developmental aid for early-career researchers and postgraduate research students, and a compendium to assist students at various levels. In addition, as with its predecessor, it will also attract interest from practising musicians and lay readers fascinated by music and emotion.

The Oxford Handbook of Dance and Reenactment brings together a cross-section of artists and scholars engaged with the phenomenon of reenactment in dance from a practical and theoretical standpoint. Synthesizing myriad views on danced reenactment and the manner in which this branch of choreographic performance intersects with important cultural concerns around appropriation this Handbook addresses originality, plagiarism, historicity, and spatiality as it relates to cultural geography. Others topics treated include transmission as a heuristic device, the notion of the archive as it relates to dance and as it is frequently contrasted with embodied cultural memory, pedagogy, theory of history, reconstruction as a methodology, testimony and witnessing, theories of history as narrative and the impact of dance on modernist literature, and relations of reenactment to historical knowledge and new media.

Ontology was once understood to be the philosophical inquiry into the structure of reality: the analysis and categorization of ‘what there is’. Recently, however, a field called ‘ontology’ has become part of the rapidly growing research industry in information technology. The two fields have more in common than just their name. Theory and Applications of Ontology is a two-volume anthology that aims to further an informed discussion about the relationship between ontology in philosophy and ontology in information technology. It fills an important lacuna in cutting-edge research on ontology in both fields, supplying stage-setting overview articles on history and method, presenting directions of current research in either field, and highlighting areas of productive interdisciplinary contact. Theory and Applications of Ontology: Philosophical Perspectives presents ontology in philosophy in ways that computer scientists are not likely to find elsewhere. The volume offers an overview of current research traditions in ontology, contrasting analytical, phenomenological, and hermeneutic approaches. It introduces the reader to current philosophical research on those categories of everyday and scientific reasoning that are most relevant to present and future research in information technology.

The relation between the Greek and Judeo-Christian traditions is "the great problem" of Western philosophy, according to Emmanuel Levinas. In this book Brian Schroeder, Silvia Benso, and an international group of philosophers address the relationship between Levinas and the world of ancient thought. In addition to philosophy, themes touching on religion, mythology, metaphysics, ontology, epistemology, ethics, and politics are also explored. The volume as a whole provides a unified and extended discussion of how an engagement between Levinas and thinkers from the ancient tradition works to enrich understandings of both. This book opens new pathways in ancient and modern philosophical studies as it illuminates new interpretations of Levinas' ethics and his social and political philosophy.

Distinguished feminist philosophers consider the future of their field and chart its political and ethical course in this forward-looking volume. Engaging with themes such as the historical trajectory of feminist phenomenology, ways of perceiving and making sense of the contemporary world, and the feminist body in health and ethics, these essays affirm the base of the discipline as well as open new theoretical spaces for work that bridges bioethics, social identity, physical ability, and the very nature and boundaries of the female body. Entanglements with thinkers such as Heidegger, Merleau-Ponty, Beauvoir, and Arendt are evident and reveal new directions for productive philosophical work. Grounded in the richness of the feminist philosophical tradition, this work represents a significant opening to the possible futures of feminist phenomenological research.

In today’s pluralistic world, many cultures feel a shift in the relationship of people with religious traditions. A corresponding movement is a resurgence of interest in human spirituality. This Handbook presents the views of education scholars who engage these concepts every day, in a collection of essays reflecting the international state of the discipline. Out of these rises a vision for the emergence of a just and peaceful world.

Cosmology, anthropology, and Christology are deeply interrelated. This implies that one cannot talk about the structure of the world without human presence in it, as well as it is impossible to produce any reasonable understanding of humanity without positioning it in the universe. In the same fashion, in order to comprehend where the human capacity of predicating the universe comes from, one needs to appeal to humanity’s Divine Image, that is, to its archetype in the incarnate Christ. Whereas Christians traditionally believe that the human phenomenon is unique as created in the Divine Image, such scientific disciplines as evolutionary biology, palaeoanthropology, the sciences of artificial intelligence, psychology, and others, challenge the vision of humanity as a unique formation thus challenging the doctrine of Imago Dei. All these disciplines place humans in a mediocre position in the world accompanied by the feeling of anxiety, insecurity, and non-attunement to the universe. Theology needs to respond to these challenges by incorporating into its scope the data from the sciences in order to neutralize such anxieties. The resulting dialogue of theology with science provides a hermeneutics of the human condition with no objective to change the latter. Then the sense of the universe is disclosed from within the Divine Image reflecting the predicaments of the human created condition.