Why pause and study this particular painting among so many others ranged on a gallery wall? Wonder, which Descartes called the first of the passions, is at play; it couples surprise with a wish to know more, the pleasurable promise that what is novel or rare may become familiar. This is a book about the aesthetics of wonder, about wonder as it figures in our relation to the visual world and to rare or new experiences. In three instructive instances--a pair of paintings by Cy Twombly, the famous problem of doubling the area of a square, and the history of attempts to explain rainbows--Philip Fisher examines the experience of wonder as it draws together pleasure, thinking, and the aesthetic features of thought. Through these examples he places wonder in relation to the ordinary and the everyday as well as to its opposite, fear. The remarkable story of how rainbows came to be explained, fraught with errors, half-knowledge, and incomplete understanding, suggests that certain knowledge cannot be what we expect when wonder engages us. Instead, Fisher argues, a detailed familiarity, similar to knowing our way around a building or a painting, is the ultimate meeting point for aesthetic and scientific encounters with novelty, rare experiences, and the genuinely new.

A provocative new way of accounting for the spirit of literary tradition, Still the New World makes a persuasive argument against the reduction of literature to identity questions of race, gender, and ethnicity.

Boldly reconfigures Walden for contemporary ethics and politics by recovering Thoreau's theological vision of environmental justice.

Cinema and Secularism is the first collection to make the relationship between cinema and secularism thematic, utilizing a number of different methodological approaches to examine their identification and differentiation across film theory, film aesthetics, film history, and throughout global cinema. The emergence of moving images and the history of cinema historically coincide with the emergence of secularism as a concept and discourse. More than historically coinciding, however, cinema and secularism would seem to have-and many contemporary theorists and critics seem to assume-a more intrinsic, almost ontological connection to each other. While early film theorists and critics explicitly addressed questions about secularism, religion, and cinema, once the study of film was professionalized and secularized in the Western academy in both film studies and religious studies, explicit and critical attention to the relationship between cinema and secularism rapidly declined. Indeed, if one canvases film scholarship today, one will find barely any works dedicated to thinking critically about the relationship between cinema and secularism. Extending the recent “secular turn” in the humanities and social sciences, Cinema and Secularism provokes critical reflection on its titular concepts. Making contributions to theory, philosophy, criticism, and history, the chapters in this pioneering volume collectively interrogate the assumption that cinema is secular, how secularism is conceived and related to cinema differently in different film cultures, and whether the world is disenchanted or enchanted in cinema. Coming from intellectually diverse backgrounds in film studies, religious studies, and philosophy, the interdisciplinary contributors to this book cover films and traditions of thought from America, Europe, Africa, the Middle East, South Asia, and East Asia. In these ways, Cinema and Secularism opens new areas of inquiry in the study of film and contributes to the ongoing interrogation of secularism more broadly.

Iconoclastic in spirit, Magical Realism and the History of the Emotions in LatinAmerica is the first study of affect and emotion in magical realist literature. Against the grain of a vast body of scholarship, it argues that magical realism is neither exotic commodity nor postcolonial resistance, but an art form fueled by a search for spaces of wonder in a disenchanted world. Linking the rise and fall of magical realism and kindred narrative forms to the shifting value of wonder as an emotional experience, this thought-provoking study proposes a radical new approach to canonical novels such as One Hundred Years of Solitude. Received as “one of the most convincing manifestations of the ‘turn to affect’ in contemporary Latin American critical thought,” Magical Realism and the History of the Emotions draws on affect theory, the history of emotions, and new materialism to reframe key questions in Latin American literature and culture.

Reimagining Nature is a new introduction to the fast developing area of natural theology, written by one of the world’s leading theologians. The text engages in serious theological dialogue whilst looking at how past developments might illuminate and inform theory and practice in the present. This text sets out to explore what a properly Christian approach to natural theology might look like and how this relates to alternative interpretations of our experience of the natural world Alister McGrath is ideally placed to write the book as one of the world’s best known theologians and a chief proponent of natural theology This new work offers an account of the development of natural theology throughout history and informs of its likely contribution in the present This feeds in current debates about the relationship between science and religion, and religion and the humanities Engages in serious theological dialogue, primarily with Augustine, Aquinas, Barth and Brunner, and includes the work of natural scientists, philosophers of science, and poets

Christianity has understood the environment as a gift to nurture and steward, a book of divine revelation disclosing the divine mind, a wild garden in need of cultivation and betterment, and as a resource for the creation of a new Eden. This Cambridge Companion details how Christianity, one of the world's most important religions, has shaped one of the existential issues of our age, the environment. Engaging with contemporary issues, including gender, traditional knowledge, and enchantment, it brings together the work of international scholars on the subject of Christianity and the Environment from a diversity of fields. Together, their work offers a comprehensive guide to the complex relationship between Christianity and the environment that moves beyond disciplinary boundaries. To do this, the volume explains the key concepts concerning Christianity and the environment, outlines the historical development of this relationship from antiquity to the present, and explores important contemporary issues.

Maurice Lee's study illustrates how writers such as Poe, Melville, Douglass, Thoreau, Dickinson, and others participated in a broad intellectual and cultural shift in which Americans increasingly learned to live with the threatening and wonderful possibilities of chance.

Essays on Aesthetic Education for the 21st Century, co-edited by Tracie Costantino and Boyd White, brings together an international collection of authors representing diverse viewpoints to engage in dialogue about the ongoing critical relevance of aesthetics for contemporary art education.

Wonder has been celebrated as the quintessential passion of childhood. From the earliest stages of our intellectual history, it has been acclaimed as the driving force of inquiry and the prime passion of thought. Yet for an emotion acknowledged so widely for the multiple roles it plays in our lives, wonder has led a singularly shadowy existence in recent reflections. Philosophers have largely passed it over in silence; emotion theorists have shunned it as a case that sits awkwardly within their analytical frameworks. So what is wonder, and why does it matter? In this book, Sophia Vasalou sketches a "grammar" of wonder that pursues the complexities of wonder as an emotional experience that has carved colorful tracks through our language and our intellectual history, not only in philosophy and science but also in art and religious experience. A richer grammar of wonder and broader window into its past can give us the tools we need for thinking more insightfully about wonder, and for reflecting on the place it should occupy within our emotional lives.