An essay on aesthetics by the Japanese novelist, this book explores architecture, jade, food, and even toilets, combining an acute sense of the use of space in buildings. The book also includes descriptions of laquerware under candlelight and women in the darkness of the house of pleasure.

An updated version of the classic volume on the beauty of things imperfect, impermanent, and incomplete. Every book about wabi-sabi is based on the paradigm introduced in the original edition of this book.

Have we become beauty-blind? For two decades or more in the humanities, various political arguments have been put forward against beauty: that it distracts us from more important issues; that it is the handmaiden of privilege; and that it masks political interests. In On Beauty and Being Just Elaine Scarry not only defends beauty from the political arguments against it but also argues that beauty does indeed press us toward a greater concern for justice. Taking inspiration from writers and thinkers as diverse as Homer, Plato, Marcel Proust, Simone Weil, and Iris Murdoch as well as her own experiences, Scarry offers up an elegant, passionate manifesto for the revival of beauty in our intellectual work as well as our homes, museums, and classrooms.

Scarry argues that our responses to beauty are perceptual events of profound significance for the individual and for society. Presenting us with a rare and exceptional opportunity to witness fairness, beauty assists us in our attention to justice. The beautiful object renders fairness, an abstract concept, concrete by making it directly available to our sensory perceptions. With its direct appeal to the senses, beauty stops us, transfixes us, fills us with a surfeit of aliveness. In so doing, it takes the individual away from the center of his or her self-preoccupation and thus prompts a distribution of attention outward toward others and, ultimately, she contends, toward ethical fairness.

Scarry, author of the landmark The Body in Pain and one of our bravest and most creative thinkers, offers us here philosophical critique written with clarity and conviction as well as a passionate plea that we change the way we think about beauty.

Twenty-plus years after the initial publication of Wabi-Sabi: for Artists, Designers, Poets & Philosophers, Leonard Koren is back with further insights into this seminal aesthetic paradigm. An important book for art and design theorists, and other thoughtful creators.

Beauty can be consoling, disturbing, sacred, profane; it can be exhilarating, appealing, inspiring, chilling. It can affect us in an unlimited variety of ways. Yet it is never viewed with indifference. In this Very Short Introduction, the renowned philosopher Roger Scruton explores the concept of beauty, asking what makes an object--either in art, in nature, or the human form--beautiful, and examining how we can compare differing judgments of beauty when it is evident all around us that our tastes vary so widely. Is there a right judgment to be made about beauty? Is it right to say there is more beauty in a classical temple than a concrete office block, more in a Rembrandt than in an Andy Warhol Campbell Soup Can? Forthright and thought-provoking, and as accessible as it is intellectually rigorous, this introduction to the philosophy of beauty draws conclusions that some may find controversial, but, as Scruton shows, help us to find greater sense of meaning in the beautiful objects that fill our lives.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Why human nature is an aesthetic phenomenon--and why we need art and philosophy to understand ourselves

In The Entanglement, philosopher Alva Noë explores the inseparability of life, art, and philosophy, arguing that we have greatly underestimated what this entangled reality means for understanding human nature.

Life supplies art with its raw materials, but art, Noë argues, remakes life by giving us resources to live differently. Our lives are permeated with the aesthetic. Indeed, human nature is an aesthetic phenomenon, and art--our most direct and authentic way of engaging the aesthetic--is the truest way of understanding ourselves. All this suggests that human nature is not a natural phenomenon. Neither biology, cognitive science, nor AI can tell a complete story of us, and we can no more pin ourselves down than we can fix or settle on the meaning of an artwork. Even more, art and philosophy are the means to set ourselves free, at least to some degree, from convention, habit, technology, culture, and even biology. In making these provocative claims, Noë explores examples of entanglement--in artworks and seeing, writing and speech, and choreography and dancing--and examines a range of scientific efforts to explain the human.

Challenging the notions that art is a mere cultural curiosity and that philosophy has been outmoded by science, The Entanglement offers a new way of thinking about human nature, the limits of natural science in understanding the human, and the essential role of art and philosophy in trying to know ourselves.

A landmark book, brilliant, thoughtful (The Atlantic) and raw and gorgeous (LA Times), that fast-forwards the discussion of the central artistic issues of our time, from the bestselling author of The Thing About Life Is That One Day You'll Be Dead.

Who owns ideas? How clear is the distinction between fiction and nonfiction? Has the velocity of digital culture rendered traditional modes obsolete? Exploring these and related questions, Shields orchestrates a chorus of voices, past and present, to reframe debates about the veracity of memoir and the relevance of the novel. He argues that our culture is obsessed with reality, precisely because we experience hardly any, and urgently calls for new forms that embody and convey the fractured nature of contemporary experience.

Paul Guyer conducts the reader through Burke's 'Enquiry', focusing on its place in the history of aesthetics and highlighting its innovations, as well as its influence on many subsequent authors from Kant and Schiller to Ruskin and Nietzsche.

Air and Dreams: An Essay on the Imagination of Movement - by Gaston Bachelard Trans. Edith and Frederick Farrell. Bachelard uses his extensive knowledge of the poetry of Poe, Blake, Shelley, and Nietzsche to amplify the images of the airy elements. THE BACHELARD TRANSLATIONS are the inspiration of Joanne H. Stroud, Director of Publications for The Dallas Institute of Humanities and Culture, who in 1981 contracted with Jose Corti to publish in English the untranslated works of Bachelard on the imagination. Gaston Bachelard is acclaimed as one of the most significant modern French thinkers. From 1929 to 1962 he authored twenty-three books addressing his dual concerns, the philosophy of science and the analysis of the imagination of matter. The influence of his thought can be felt in all disciplines of the humanities - art, architecture, literature, language, poetics, philosophy, and depth psychology. His teaching career included posts at the College de Bar-sur-Aube, the University of Dijon, and from 1940 to 1962 the chair of history and philosophy of science at the Sorbonne. One of the amphitheaters of the Sorbonne is called L'Amphi Gaston Bachelard, an honor Bachelard shared with Descartes and Richelieu. He received the Grand Prix National Lettres in 1961-one of only three philosophers ever to have achieved this honor. The influence of his thought can be felt in all disciplines of the humanities-art, architecture, literature, poetics, psychology, philosophy, and language.

Las enfermeras de todo el mundo han luchado durante mucho tiempo con los desafíos éticos en la atención al paciente. De hecho, en las Notas sobre enfermería de Florence Nightingale, discutió los deberes éticos de confidencialidad, comunicación y la centralidad de satisfacer las necesidades de los pacientes ( Nightingale, 1859; Ulrich & Zeitzer, 2009 ). Del mismo modo, las enfermeras de hoy están obligadas a defender las virtudes, los deberes y los principios morales fundamentales de la profesión de enfermería. Sin embargo, se ha vuelto cada vez más difícil para las enfermeras en todas partes del mundo ejercer con integridad en medio de las complejas elecciones morales y presiones que enfrentan las enfermeras. La enfermería es una profesión moralmente responsable. Históricamente, se ha caracterizado por ser una profesión con sentido humanístico, lo cual la diferencia de las otras profesiones, incluida la medicina. En el currículo de formación, la enfermería se considera como el eje rector del aspecto ético-humanista en los cuidados de la salud de las personas. Una cultura ética entre las enfermeras/os favorece la accesibilidad y eficacia del cuidado enfermero y salvaguardar los principios que lo rigen como la solidaridad, integridad, equidad y calidad. La relación con el mundo plantea paradojas y dilemas y la ética juega un papel trascendental en la conciencia y en las actuaciones; además, los seres humanos durante una experiencia de enfermedad son frágiles, en ocasiones sometidos al calor, frío, sed, hambre, inseguridad, fracaso, dolor y muerte. Para Torralba, vivir humanamente significa vivir en la vulnerabilidad.

After kicking open the doors to twentieth-century philosophy in Thus Spake Zarathustra, Friedrich Nietzsche refined his ideal of the superman with the 1886 publication of Beyond Good and Evil. Conventional morality is a sign of slavery, Nietzsche maintains, and the superman goes beyond good and evil in action, thought, and creation. Nietzsche especially targets what he calls a slave morality that fosters herdlike quiescence and stigmatizes the highest human types.
In this pathbreaking work, Nietzsche's philosophical and literary powers are at their height: with devastating irony and flashing wit he gleefully dynamites centuries of accumulated conventional wisdom in metaphysics, morals, and psychology, clearing a path for such twentieth-century innovators as Thomas Mann, André Gide, Sigmund Freud, George Bernard Shaw, André Malraux, and Jean-Paul Sartre, all of whom openly acknowledged their debt to him.
Students of philosophy and literature as well as general readers will prize this rich sampling of Nietzsche's thought in an unabridged and inexpensive edition of one of the philosopher's most important works.

Featuring long-awaited selections from Robert M. Pirsig's unpublished writings, from before and after Zen and the Art of Motorcycle Maintenance, an original collection illuminating the central theme of Pirsig's thought: Quality

The ultimate goal in the pursuit of excellence is enlightenment. --Robert M. Pirsig, 1962

More than a decade before the release of the book that would make him famous, Robert M. Pirsig had already caught hold of the central theme that would animate Zen and the Art of Motorcycle Maintenance: Quality, a concept loosely likened to excellence, rightness, or fitness that Pirsig saw as kindred to the Buddhist ideas of dharma or the Tao. As he later wrote in Zen, Quality is the Buddha.

Though he was revered by fans who considered him a guru, the famously private Pirsig published only two books and consented to few interviews and almost no public appearances in later decades. Yet he wrote and thought almost continually, refining his Metaphysics of Quality until his death in 2017.

Now, for the first time, readers will be granted access to five decades of Pirsig's personal writings in this posthumous collection that illuminates the evolution of his thinking to an unprecedented degree. Skillfully edited and introduced by Wendy K. Pirsig, Robert's wife of four decades, the collection includes previously unpublished texts, speeches, letters, interviews, and private notes, as well as key excerpts from Zen and the Art of the Motorcycle Maintenance and his second book, Lila.

Since its publication in 1974, Zen and the Art of Motorcycle Maintenance has established itself as a modern classic of popular philosophy; selling millions of copies and inspiring a generation, while serving as a perennial touchstone for the generations that follow. On Quality is a remarkable contribution to our understanding of one of the most influential thinkers and writers of our time.

An intense and lively debate on literature and art between thinkers who became some of the great figures of twentieth-century philosophy and literature.

With an afterword by Fredric Jameson

No other country and no other period has produced a tradition of major aesthetic debate to compare with that which unfolded in German culture from the 1930s to the 1950s. In Aesthetics and Politics the key texts of the great Marxist controversies over literature and art during these years are assembled in a single volume. They do not form a disparate collection but a continuous, interlinked debate between thinkers who have become giants of twentieth-century intellectual history.

The second annual Alchemy Lecture brought together five artists, thinkers, and writers who proposed new ways of being and discussed radical visions for the future. Five Manifestos for the Beautiful World captures and expands these lectures to illuminate our path toward this possible beautiful world. Joseph M. Pierce (Cherokee Nation) asserts that for this decolonial future to become possible, the guiding force must no longer be capital but relations. Film curator Janaína Oliveira (Brazil) evokes music and movement as a means toward this relationality. Visual artist Phoebe Boswell (UK/Kenya) asks, If we burn down the institution, what happens next? Saidiya Hartman (US) prompts us to consider our capacity to burn, examining whether the gift of pragmatism yields a profound tolerance of the unlivable. Cristina Rivera Garza (US/Mexico) gives us the language of the future in the subjunctive, the smuggler who crosses the border of the future bearing unknown cargo. Each alchemist is intimately concerned with this cargo, our ability to bear its weight, and how we might find the beautiful world together.

In The Beauty of Choice, the renowned cultural critic Wendy Steiner offers a dazzling new account of aesthetics grounded in female agency. Through a series of linked meditations on canonical and contemporary literature and art, she casts women's taste as the engine of liberal values.

Steiner reframes long-standing questions surrounding desire, art, sexual assault, and beauty in light of #MeToo. Beginning with an opera she wrote based on Chaucer's The Wife of Bath's Tale, she presents women's sexual choices as fundamentally aesthetic in nature--expressions of their taste--and artworks as stagings of choice in courtship, coquetry, consent, marriage, and liberation. A merger of art criticism, evolutionary theory, political history, and aesthetics, this book paints the struggle between female autonomy and patriarchal violence and extremism as the essence of art.

The Beauty of Choice pursues its claims through a striking diversity of examples: Sei Shōnagon's defense of pleasure in the Pillow Book; Picasso's and Balthus's sexualization of their models; the redefinition of waste in postmodern fiction; and interactivity and empathy in the works of contemporary artists such as Marlene Dumas, Barbara MacCallum, Kristin Beeler, and Hannah Gadsby. It offers the first critical study of Heroines, a memorial to the twenty thousand women raped in Kosovo during the Serbian genocide. This deeply original book gives taste, beauty, and pleasure central roles in a passionate defense of women's freedom.

What does a sanctuary for Hawaiian crows have in common with a troop of robots programmed to perform the Māori haka, or recreations of World Heritage Sites built in Minecraft?

A family heirloom. An endangered species. An ancient piece of pottery. A threatened language. These things differ in myriad ways, but they are tied together by a common thread: they are all examples of things that call out to be saved. The world is brimming with things worth saving, and we have limited time and resources. How do we decide what to save? Why do we make these choices?

Philosopher Erich Hatala Matthes explores these questions as they surface in radically diverse contexts--from museums to TikTok, and from National Parks to the corner of your attic. Matthes illustrates the deep relationship between the things we might save and our sense of self. If our cares and concerns are a fundamental part of our identity, then what we care for and preserve will play a significant role in shaping and maintaining our understanding of who we are. In a world in which everything that we care about is subject to powerful forces of change--from climate disturbance and armed conflict, to social transformation and the wear and tear of time--the terms on which we confront change will be key to whether and how we can save the things we care about in the ways that really matter to us. Will change be foisted upon us? Or is there a role for us to play in rejecting, influencing, or managing change? As he explores these questions, Matthes tackles related themes such as authenticity, agency, and appropriation: Who exactly should be responsible for saving things, and on whose behalf should such efforts be pursued? These are all essential elements to a fuller understanding of what to save and why.

The human person is a truth seeker, and one of the most compelling ways human beings pursue truth is through the arts. In Beauty and Imitation: A Philosophical Reflection on the Arts, Daniel McInerny argues for an understanding of art as a form of inquiry into truth that proceeds by way of sensible beauty.

Drawing upon the thought of Aristotle and St. Thomas Aquinas, McInerny argues for the unfashionable yet philosophically compelling view that art is essentially mimetic, imitative of human action. But what does it mean for art to imitate human action? It means that art imitates the way human beings by nature quest for fulfillment, or happiness. In questing for fulfillment, human life takes the form of a story, and so the arts--all the arts, from painting to music, from fiction to film--are storytelling arts whose beauty reveals the truth about human happiness.

The first part of the book features a renewed defense of the ancient Aristotelian claim that art is mimetic and that its imitation of the human story takes the form of a moral argument. The second part shows how audiences are transformed by the moral arguments the mimetic arts make, and the third concludes with a guided tour of the mimetic arts, where specific arts are considered in light of the Aristotelian and Thomistic principles advanced earlier.