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The Aesthetics of Desire and Surprise: Phenomenology and Speculation covers issues central to contemporary continental philosophy (desire, expectations, excess, rupture, transcendence, immanence, surprise). The proposed term desire||surprise captures the phenomenological-speculative character of the pair not yet and no longer. Non-obvious parallels between different thinkers are drawn, and the argumentation is organized around philosophical figures relevant in the sequence desire – excess –pause (rupture, break) – recuperation (surprise). The works of Levinas, Žižek, Bataille, Blanchot, Foucault, and Ricoeur are interpreted and positioned according to the proposed template of desire - excess - pause. The consideration of limit experiences involves authors fascinated by transgression, and the question of whether excess is immanent or transcendent. This discussion considers works by Nietzsche, Deleuze, Žižek, and Foucault. The analysis of surprise and the beginning of recovery after the pause considers works by Fink, Merleau-Ponty, Nancy, Lyotard, Dufrenne, Bachelard, and Seel. The provocative argument elaborated in this work is that surprise starts with indifference. Furthermore, the argument is that surprise begins where the concept reaches its ending, hence that the limit of speculative thinking at its ending is the limit of aesthetics at its beginning. The work of Hegel, Schelling and Jaspers are discussed in order to argue for the beginning of aesthetics there where knowledge ends. Philosophical thematic is contextualized via sections on artists such as Duchamp and Mondrian, and on some films, provoking interest of aestheticians working in art history and cultural studies departments.
Argument and imagination are often interdependent. Martin Warner explores how this relationship bears on argument's concern with truth, not just persuasion. He argues that the rationality of argument is not only a matter of deductive validity, but can be assessed in terms of criteria drawn from the study of imaginative literature.
In An Introduction to Kant’s Aesthetics, Christian Wenzel discusses and demystifies Kant’s Critique of the Power of Judgment, guiding the reader each step of the way and placing key points of discussion in the context of Kant’s other work. Explains difficult concepts in plain language, using numerous examples and a helpful glossary. Proceeds in the same order as Kant’s text for ease of reference and comprehension. Includes an illuminating foreword by Henry E. Allison. Offers twenty-six further-reading sections, commenting briefly on books and articles from the English, German, and French, that are relevant for each topic Provides an extensive bibliography and a chapter summarizing Kant's main points.
Bence Nanay explores how many influential debates in aesthetics look very different, and may be easier to tackle, if we clarify the assumptions they make about perception and experience. He focuses on the ways in which the distinction between distributed and focused attention can help us re-evaluate various key concepts and debates in aesthetics.
A compelling exploration of the convergence of Jane Austen’sliterary themes and characters with David Hume’s views onmorality and human nature. Argues that the normative perspectives endorsed in JaneAusten's novels are best characterized in terms of a Humeanapproach, and that the merits of Hume's account of ethical,aesthetic and epistemic virtue are vividly illustrated by Austen'swriting. Illustrates how Hume and Austen complement one another, eachproviding a lens that allows us to expand and elaborate on theideas of the other Proposes that literature may serve as a thought experiment,articulating hypothetical cases which allow the reader to test hermoral intuitions Contributes to ongoing debates on the philosophy of literature,ethics, and emotion
Aesthetic sensibility rests on perceptual experience and characterizes not only our experience of the arts but our experience of the world. Sensibility and Sense offers a philosophically comprehensive account of humans' social and cultural embeddedness encountered, recognized, and fulfilled as an aesthetic mode of experience. Extending the range of aesthetic experience from the stone of the earth's surface to the celestial sphere, the book focuses on the aesthetic as a dimension of social experience. The guiding idea of pervasive interconnectedness, both social and environmental, leads to an aesthetic critique of the urban environment, the environment of daily life, and of terrorism, and has profound implications for grounding social and political values. The aesthetic emerges as a powerful critical tool for appraising urban culture and political practice.
"[T]he essential tools you need to fight the escalating sophistry, falsehoods and vicious personal attacks that have displaced intelligent conversations throughout the world."--
Part of the Continuum Aesthetics series, this book addresses all the central issues in the aesthetics of nature.
Can a good work of art be evil? 'Art, Ethics, and Emotion' explores this issue, arguing that artworks are always aesthetically flawed insofar as they have a moral defect that is aesthetically relevant. This book will be of interest to anyone who wants to understand the relation of art to morality.
Warner here puts forward a much broader discussion of rationality than that which underlies today's polarization between analytic and continental philosophy. Through a series of case-studies the author explores ancient conceptions of dialectic and rhetoric in relation to the positive role given to sentiment or "the heart" by Pascal, Hume, and Nietzsche. These studies point to an understanding of philosophy which undercuts fashionable disputes and which helps to reaffirm a range of ideas long marginalized by the dominance of the geometric model of philosophical argument.