In Vagaries of Desire, Timo Airaksinen develops a new philosophical account of desire understood as mental state that focuses on a desirable possible world. Literary and philosophical themes, including sexuality, are discussed in terms of their metaphoric and metonymic features.

The book proposes a radically revised understanding of the epoch of the Danish Golden Age by investigating the historical and literary contexts of Søren Kierkegaard’s pioneering thoughts on anxiety.

A new edition of Quine's most important work. Willard Van Orman Quine begins this influential work by declaring, "Language is a social art. In acquiring it we have to depend entirely on intersubjectively available cues as to what to say and when." As Patricia Smith Churchland notes in her foreword to this new edition, with Word and Object Quine challenged the tradition of conceptual analysis as a way of advancing knowledge. The book signaled twentieth-century philosophy's turn away from metaphysics and what Churchland calls the "phony precision" of conceptual analysis. In the course of his discussion of meaning and the linguistic mechanisms of objective reference, Quine considers the indeterminacy of translation, brings to light the anomalies and conflicts implicit in our language's referential apparatus, clarifies semantic problems connected with the imputation of existence, and marshals reasons for admitting or repudiating each of various categories of supposed objects. In addition to Churchland's foreword, this edition offers a new preface by Quine's student and colleague Dagfinn Follesdal that describes the never-realized plans for a second edition of Word and Object, in which Quine would offer a more unified treatment of the public nature of meaning, modalities, and propositional attitudes.

Donald Davidson has prepared a new edition of his classic 1980 collection of Essays on Actions and Events, including two additional essays.

This volume contains ten new essays focused on the exploration and articulation of a narrative that considers the notion of order within medieval and modern philosophy—its various kinds (natural, moral, divine, and human), the different ways in which each is conceived, and the diverse dependency relations that are thought to obtain among them. Descartes, with the help of others, brought about an important shift in what was understood by the order of nature by placing laws of nature at the foundation of his natural philosophy. Vigorous debate then ensued about the proper formulation of the laws of nature and the moral law, about whether such laws can be justified, and if so, how-through some aspect of the divine order or through human beings-and about what consequences these laws have for human beings and the moral and divine orders. That is, philosophers of the period were thinking through what the order of nature consists in and how to understand its relations to the divine, human, and moral orders. No two major philosophers in the modern period took exactly the same stance on these issues, but these issues are clearly central to their thought. The Divine Order, the Human Order, and the Order of Nature is devoted to investigating their positions from a vantage point that has the potential to combine metaphysical, epistemological, scientific, and moral considerations into a single narrative.

This book examines the salient ideas and practices that have shaped Surrealism as a protean intellectual and cultural concept that fundamentally shifted our understanding of the nexus between art, culture, and politics. By bringing a diverse set of artistic forms and practices such as literature, manifestos, collage, photography, film, fashion, display, and collecting into conversation with newly emerging intellectual traditions (ethnography, modern science, anthropology, and psychoanalysis), the essays in this volume reveal Surrealism's enduring influence on contemporary thought and culture alongside its anti-colonial political position and international reach. Surrealism's fascination with novel forms of cultural production and experimental methods contributed to its conceptual malleability and temporal durability, making it one of the most significant avant-garde movements of the twentieth century. The book traces how Surrealism's urgent political and aesthetic provocations have bequeathed an important legacy for recent scholarly interest in thing theory, critical vitalism, new materialism, ontology, and animal/human studies.

Essays and musings considering the elusive and evocative idea of perfection that traverse topics that are at once ordinary and elemental: the house she and her husband once thought was "perfect," being a mother and being a daughter, alcoholism, middle age.

These 17 essays covers all aspects of Bernard Stiegler's work, from poststructuralism, anthropology and psychoanalysis to his work on the politics of memory, 'libidinal economy', technoscience and aesthetics, keeping a focus on his key theory of technics throughout. Stiegler brings together key concepts from Plato, Freud, Derrida and Simondon to argue that the human is 'invented' through technics rather than a product of purely biological evolution. Stiegler is a thinker at the forefront of our contemporary concerns with consumerism, technology, inter-generational division, political apathy and economic crisis. His ambitious project is to go beyond these sources of social distress to uncover and examine precisely 'what makes life worth living'. Contributors include: Stephen Barker, University of California Irvine and translator of Steigler; Richard Beardsworth, American University of Paris and translator of Stiegler; Miguel de Beistegui; University of Warwick; Marc Crepon, Ecole normale superieure and co-founder of Stiegler's think tank, Ars Industrialis and Daniel Ross, co-director of 'The Ister', the award-winning film on Heidegger, and translator of Stiegler.

An anthropologist investigates the revolution of everyday life.

The Sense of Brown is José Esteban Muñoz's treatise on brownness and being as well as his most direct address to queer Latinx studies. In this book, which he was completing at the time of his death, Muñoz examines the work of playwrights Ricardo Bracho and Nilo Cruz, artists Nao Bustamante, Isaac Julien, and Tania Bruguera, and singer José Feliciano, among others, arguing for a sense of brownness that is not fixed within the racial and national contours of Latinidad. This sense of brown is not about the individualized brown subject; rather, it demonstrates that for brown peoples, being exists within what Muñoz calls the brown commons—a lifeworld, queer ecology, and form of collectivity. In analyzing minoritarian affect, ethnicity as a structure of feeling, and brown feelings as they emerge in, through, and beside art and performance, Muñoz illustrates how the sense of brown serves as the basis for other ways of knowing and being in the world.