This book argues that beauty challenges us to find meaning in its object, to make critical comparisons, and to examine our own lives and emotions in the light of what we find. The book examines the importance of beauty not only in terms of art and aesthetics, but also within the context of the current post-religious age. It engages with the philosophical works of Roger Scruton and William Desmond, and endorses and addresses many important discussions surrounding art and beauty found in the works of Plato, Kant, Hegel, Schopenhauer, Nietzsche, and Heidegger. It also takes seriously the role of poetry and painting to explore the theme that runs through this research: the idea that beauty is rationally found. Meditations on the art of Manet, Van Gogh, Delacroix, Rembrandt, and other artists, together with the voices of several poets, show us that beauty cannot be reduced to aesthetics only. Irreducible to philosophy, religion, or aesthetics, the notion of beauty is deeply examined in all its forms and spiritual meaning.

Beauty and the End of Art shows how a resurgence of interest in beauty and a sense of ending in Western art are challenging us to rethink art, beauty and their relationship. By arguing that Wittgenstein's later work and contemporary theory of perception offer just what we need for a unified approach to art and beauty, Sonia Sedivy provides new answers to these contemporary challenges. These new accounts also provide support for the Wittgensteinian realism and theory of perception that make them possible. Wittgenstein's subtle form of realism explains artworks in terms of norm governed practices that have their own varied constitutive norms and values. Wittgensteinian realism also suggests that diverse beauties become available and compelling in different cultural eras and bring a shared 'higher-order' value into view. With this framework in place, Sedivy argues that perception is a form of engagement with the world that draws on our conceptual capacities. This approach explains how perceptual experience and the perceptible presence of the world are of value, helping to account for the diversity of beauties that are available in different historical contexts and why the many faces of beauty allow us to experience the value of the world's perceptible presence. Carefully examining contemporary debates about art, aesthetics and perception, Beauty and the End of Art presents an original approach. Insights from such diverse thinkers as Immanuel Kant, Hans-Georg Gadamer and Arthur Danto, Alexander Nehamas, Elaine Scarry and Dave Hickey are woven together to reveal how they make good sense if we bring contemporary theory of perception and Wittgensteinian realism into the conversation.

Beauty engages fourth-century bishop Gregory of Nyssa to address beauty's place in theology and the broader world. With the recent resurgence of attention to beauty among theologians, questions still remain about what exactly beauty is, how it is perceived, and whether we should celebrate its return. If beauty fell out of favor because it was seen to distract from the weightier concerns of poverty and suffering--because it can even be a tool of oppression--why should we laud it now? Gregory's writings offer surprisingly rich and relevant reflections that can move contemporary conversations beyond current impasses and critiques of beauty. Drawing Gregory into conversation with such disparate voices as novelist J. M. Coetzee and art theorist Kaja Silverman, Beauty displays the importance of beauty to theology and theology to beauty in a discussion that bridges ancient and modern, practical and theoretical, secular and religious.

As the only American city under direct congressional control, Washington has served historically as a testing ground for federal policy initiatives and social experiments—with decidedly mixed results. Well-intentioned efforts to introduce measures of social justice for the district's largely black population have failed. Yet federal plans and federal money have successfully created a large federal presence—a triumph, argues Howard Gillette, of beauty over justice. In a new afterword, Gillette addresses the recent revitalization and the aftereffects of an urban sports arena.

By the time of his death in 1904, critics, arts reformers, and government officials were near universal in their praise of Art Nouveau designer Emile Gallé (1846–1904), whose works they described as the essence of French design. Many even went so far as to argue that the artist’s creations could reinvigorate France’s fading arts industries and help restore its economic prosperity by defining a modern style to represent the nation. For fin-de-siècle viewers, Gallé’s works constituted powerful reflections on the idea of national belonging, modernity, and the role of the arts in political engagement. While existing scholarship has largely focused on the artist’s innovative technical processes, a close analysis of Gallé’s works brings to light the surprisingly complex ways in which his fragile creations were imbricated in the political turmoil that characterized fin-de-siècle France. Examining Gallé’s works inspired by Japanese art, his patriotically inflected designs for the Universal Exposition of 1889, his artistic manifesto in support of Dreyfus created in 1900, and finally, his late works that explore the concept of evolution, this book reveals how Gallé returns again and again to the question of national identity as the central issue in his work.

Commemorating the fiftieth anniversary of the National Historic Preservation Act, a critique of the preservation movement—and a bold vision for its future Every day, millions of people enter old buildings, pass monuments, and gaze at landscapes unaware that these acts are possible only thanks to the preservation movement. As we approach the October 2016 anniversary of the United States National Historic Preservation Act, historian Max Page offers a thoughtful assessment of the movement’s past and charts a path toward a more progressive future. Page argues that if preservation is to play a central role in building more-just communities, it must transform itself to stand against gentrification, work more closely with the environmental sustainability movement, and challenge societies to confront their pasts. Touching on the history of the preservation movement in the United States and ranging the world, Page searches for inspiration on how to rejuvenate historic preservation for the next fifty years. This illuminating work will be widely read by urban planners, historians, and anyone with a stake in the past.

Beauty and the End of Art shows how a resurgence of interest in beauty and a sense of ending in Western art are challenging us to rethink art, beauty and their relationship. By arguing that Wittgenstein's later work and contemporary theory of perception offer just what we need for a unified approach to art and beauty, Sonia Sedivy provides new answers to these contemporary challenges. These new accounts also provide support for the Wittgensteinian realism and theory of perception that make them possible. Wittgenstein's subtle form of realism explains artworks in terms of norm governed practices that have their own varied constitutive norms and values. Wittgensteinian realism also suggests that diverse beauties become available and compelling in different cultural eras and bring a shared 'higher-order' value into view. With this framework in place, Sedivy argues that perception is a form of engagement with the world that draws on our conceptual capacities. This approach explains how perceptual experience and the perceptible presence of the world are of value, helping to account for the diversity of beauties that are available in different historical contexts and why the many faces of beauty allow us to experience the value of the world's perceptible presence. Carefully examining contemporary debates about art, aesthetics and perception, Beauty and the End of Art presents an original approach. Insights from such diverse thinkers as Immanuel Kant, Hans-Georg Gadamer and Arthur Danto, Alexander Nehamas, Elaine Scarry and Dave Hickey are woven together to reveal how they make good sense if we bring contemporary theory of perception and Wittgensteinian realism into the conversation.

The first systematic overview of the field of comparative theology Meaning and Method in Comparative Theology offers a synthesis of and a blueprint for the emerging field of comparative theology. It discusses various approaches to the field, the impact of religious views of other religions on the way in which comparative theology is conducted, and the particularities of comparative theological hermeneutics. It also provides an overview of the types of learning and of the importance of comparative theology for traditional confessional theology. Though drawing mainly from examples of Christian comparative theology, the book presents a methodological framework that may be applied to any religious tradition. Meaning and Method in Comparative Theology begins with an elaboration on the basic distinction between confessional and meta-confessional approaches to comparative theology. The book also identifies and examines six possible types of comparative theological learning and addresses various questions regarding the relationship between comparative and confessional theology. Provides a unique and objective look at the field of comparative theology for scholars of religion and theologians who want to understand or situate their work within the broader field Contains methodological questions and approaches that apply to comparative theologians from any religious tradition Recognizes and affirms the diversity within the field, while advancing unique perspectives that might be the object of continued discussions among theologians Meaning and Method in Comparative Theology offers an important basis for scholars to position their own work within the broader field of comparative theology and is an essential resource for anyone interested in theology conducted in dialogue with other religious traditions. 2021 PROSE Finalist in the Theology & Religious Studies category.

The national bestseller From the author of the bestselling More Beautiful Than Before comes an inspiring book about loss based on his most popular sermon. As the senior rabbi of one of the largest synagogues in the world, Steve Leder has learned over and over again the many ways death teaches us how to live and love more deeply by showing us not only what is gone but also the beauty of what remains. This inspiring and comforting book takes us on a journey through the experience of loss that is fundamental to everyone. Yet even after having sat beside thousands of deathbeds, Steve Leder the rabbi was not fully prepared for the loss of his own father. It was only then that Steve Leder the son truly learned how loss makes life beautiful by giving it meaning and touching us with love that we had not felt before. Enriched by Rabbi Leder's irreverence, vulnerability, and wicked sense of humor, this heartfelt narrative is filled with laughter and tears, the wisdom of millennia and modernity, and, most of all, an unfolding of the profound and simple truth that in loss we gain more than we ever imagined.

The Places and Spaces of Fashion, 1800-2007 brings together art, design, fashion, and a much neglected concern for its spatial realities. The spaces and places of fashion have often been overlooked in the writing of fashion history and visual culture. More often than not, however, these environments mitigate, control, inform, and enhance how fashion is experienced, performed, consumed, seen, exhibited, purchased, appreciated and of course displayed. Space, as this volume attempts to illustrate, is itself a representational strategy on par with and influencing the visibility and visuality of fashion. Innovative and challenging, the essays in this volume explore various physical and conceptual spaces, moving from physical environments to the two-dimensional with paintings, illustrations, and photographs to chart similarities, differences, and complex nuanced relationships between environments, fashion, identities, and visuality. The volume also navigates various sites (both permanent and temporary) of production, circulation, exhibition, consumption, and promotion of fashion that define meaning and knowledge about a culture or individual by providing for a bond between embodied consumers/spectators and fashion objects. The Places and Spaces of Fashion, 1800-2007 is a compelling project with a thematic, theoretical, and historiographic approach that is at once both focused yet far-reaching and original in its implications. The volume engages with questions attending to the ‘modern condition’ by seamlessly weaving interdisciplinary discussions of the visual with material culture to explore the spatial dimension(s) of fashion. Some of the essays explore new and exciting spaces while others offer compelling revisionary analyses of relatively known sources