Encounters in the Arts, Literature, and Philosophy focuses on chance and scripted encounters as sites of tensions and alliances where new forms, ideas, meanings, interpretations, and theories can emerge. By moving beyond the realm of traditional hermeneutics, Jérôme Brillaud and Virginie Greene have compiled a volume that vitally illustrates how reading encounters represented in artefacts, texts, and films is a vibrant and dynamic mode of encountering and interpreting. With contributions from esteemed academics such as Christie McDonald, Pierre Saint-Amand, Susan Suleiman, and Jean-Jacques Nattiez, this book is a multidisciplinary collaboration between scholars from a range of disciplines including philosophy, literature, musicology, and film studies. It uses examples chiefly from French culture and covers the Early Modern era to the twentieth century, while providing a thorough and representative array of theoretical and hermeneutical approaches.

Encounters in the Arts, Literature, and Philosophy focuses on chance and scripted encounters as sites of tensions and alliances where new forms, ideas, meanings, interpretations, and theories can emerge. By moving beyond the realm of traditional hermeneutics, Jérôme Brillaud and Virginie Greene have compiled a volume that vitally illustrates how reading encounters represented in artefacts, texts, and films is a vibrant and dynamic mode of encountering and interpreting. With contributions from esteemed academics such as Christie McDonald, Pierre Saint-Amand, Susan Suleiman, and Jean-Jacques Nattiez, this book is a multidisciplinary collaboration between scholars from a range of disciplines including philosophy, literature, musicology, and film studies. It uses examples chiefly from French culture and covers the Early Modern era to the twentieth century, while providing a thorough and representative array of theoretical and hermeneutical approaches.

The Poetics of the Avant-garde in Literature, Arts, and Philosophy presents a range of chapters written by a highly international group of scholars from disciplines such as literary studies, arts, theatre, and philosophy to analyze the ambitions of avant-garde artists. Together, these essays highlight the interdisciplinary scope of the historic avant-garde and the interconnectedness of its artists. Contributors analyze topics such as abstraction and estrangement across the arts, the imaginary dialogue between Lev Yakubinsky and Mikhail Bakhtin, the problem of the “masculine ethos” in the Russian avant-garde, the transformation of barefoot dancing, Kazimir Malevich’s avant-garde poetic experimentations, the ecological imagination of the Polish avant-garde, science-fiction in the Russian avant-garde cinema, and the almost forgotten history of the avant-garde children’s literature in Germany. The chapters in this collection open a new critical discourse about the avant-garde movement in Europe and reshape contemporary understandings of it.

In Literature and the Encounter with Immanence Brynnar Swenson collects nine original essays that approach the relationship between literature and immanence through methodologies grounded in the philosophy of Spinoza. One of Spinoza’s most provocative claims is a simple declaration of ignorance: “We do not know what a body can do.” A literary theory based on immanence privileges the ontological status of the text and the material act of reading. Rather than ask what a text means, the essays here ask what a text can do. Each essay documents a distinct literary and philosophical encounter with immanence and, as a result, opens up a space to read literature as one would read philosophy and vice versa.

A provocative examination of the artistic interpretation of twelve of Borges’s most famous stories.

In a series of philosophical discussions and artistic case studies, this volume develops a materialist and immanent approach to modern and contemporary art. The argument is made for a return to aesthetics - an aesthetics of affect - and for the theorization of art as an expanded and complex practice. Staging a series of encounters between specific Deleuzian concepts - the virtual, the minor, the fold, etc. - and the work of artists that position their work outside of the gallery or 'outside' of representation - Simon O'Sullivan takes Deleuze's thought into other milieus, allowing these 'possible worlds' to work back on philosophy.

Phenomenology and the Arts develops the interplay between phenomenology as a historical movement and a descriptive method within Continental philosophy and the arts. Divided into five themes, the book explores first how the phenomenological method itself is a kind of artistic endeavor that mirrors what it approaches when it turns to describe paintings, dramas, literature, and music. From there, the book turns to an analysis and commentary on specific works of art within the visual arts, literature, music, and sculpture. Contributors analyze important historical figures in phenomenology—Kant, Hegel, Husserl, Heidegger, and Merleau-Ponty. But there is also a good deal of work on art itself—Warhol, Klee, jazz, and contemporary and renaissance artists and artworks. Edited by Peter R. Costello and Licia Carlson, this book will be of interest to students in philosophy, the arts, and the humanities in general, and scholars of phenomenology will notice incredibly rich, groundbreaking research that helps to resituate canonical figures in phenomenology with respect to what their works can be used to describe.

Boldly standing up to today's nihilisms and debasements of taste. Culture Counts offers a noble and compelling defense of high culture and the centrality of rich aesthetic experience for a full human life. The wisdom of roger scruton's judgments and the elegance of his prose are themselves powerful evidence for the truth of his thesis.

This volume analyses Virginia Woolf’s novels through a philosophical lens, providing an interpretive overview of her works through Hans-Georg Gadamer’s hermeneutic ontology. The text argues that interpretation itself is the central subject matter of Woolf’s novels: in order to understand these novels in all of their complexity and depth, it is both useful and helpful to comprehend the interpretive pillars that inform these narratives. Indeed, interpretation became a central theme during the Modernist movement, and Woolf’s novels took part in this conversation. For his part, Gadamer was in important voice in these discussions, dedicating his life’s work to the concept of interpretation. Gadamer focused on the universality of interpretation, arguing that it is inescapable and irrevocably bound up with existence. In many ways, Woolf’s novels represent an enactment of Gadamer’s philosophy, as they emphasize the radical questionability of the world—what this interpretive imperative requires of its participants and the potential yield that may result. On the other end, Gadamer’s philosophy acquires a concrete praxis when applied to Woolf’s novels. His philosophy hinges on the universality of interpretation as it manifests itself in daily existence; the literary text and its interpretation participate in this universality and is shaped by it.