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Author: Fred Orton
Fred Orton’s teaching and writing has always combined theoretical and formal – which to say structural - analysis with historical research and reflection. This collection of essays – rewritten studies of Paul Cézanne, Jasper Johns, the American cultural critic Harold Rosenberg and a new essay on Marx and Engels’ notion of ideology – brings together some of his most decisive contributions to thinking about fine art practice and rethinking the theory and methods of the social history of art. More than an anthology, it offers a vivid demonstration of how theory can work to generate new interpretations and unsettle old ones.
Evil women, who are they really? What are their motives, and how are they remembered and constructed within our culture? Evil Women: Representations within Literature, Culture and Film seeks to interrogate the nature and construction of evil women in the above fields. Through literature, poetry, history, ballads, film and real-life culture, scholars explore how the evil woman has been constructed and, in some cases, erased; the punishment and treatment of evil women; and the way evil women have been portrayed on and off screen through character, narrative and behind the camera development.
From Hip Hop Philosophy to Politics and Performance Art
Volume Editor: Jerold J. Abrams
This edited collection provides an in-depth and wide-ranging exploration of pragmatist philosopher Richard Shusterman’s distinctive project of “somaesthetics,” devoted not only to better understanding bodily experience but also to greater mastery of somatic perception, performance, and presentation. Against contemporary trends that focus narrowly on conceptual and computational thinking, Shusterman returns philosophy to what is most fundamental—the sentient, expressive, human body with its creations of living beauty. Twelve scholars here provide penetrating critical analyses of Shusterman on ontology, perception, language, literature, culture, politics, aesthetics, cuisine, music, and the visual arts, including films of his work in performance art.
Contemporary and Historical Interventions in Blake and Brecht
Author: Keith O’Regan
In Towards a Productive Aesthetics: Contemporary and Historical Interventions in Blake and Brecht, Keith O’Regan mobilises a constellative approach to compare the political-aesthetic strategies of William Blake (1757-1827) and Bertolt Brecht (1898-1956). O’Regan traces two similar trajectories in each author’s work: an exploration of how capitalist domination defines conjunctures, and an investigation of how historical figures, themes and terrains illustrate past failures or losses that can be cleaved open for radical possibilities in the present. Brecht and Blake posit an “oppositional aesthetics of the now” that articulates a theory of experience under capitalism, while counter-posing an oppositional form of existence.
Volume Editors: Jacque Lynn Foltyn and Laura Petican
For the contributors to In Fashion: Culture, Commerce, Craft, and Identity being “in fashion” is about self-presentation; defining how fashion is presented in the visual, written, and performing arts; and about design, craft, manufacturing, packaging, marketing and archives. The book’s international cast of authors engage “in” fashion from various disciplinary, professional, and creative perspectives; i.e., anthropology, archaeology, art history, cultural studies, design, environmental studies, fashion studies, history, international relations, literature, marketing, philosophy, sociology, technology, and theatre.

In Fashion has five sections:
• Fashioning Representations: Texts, Images, and Performances;
• Fashionable: Shopping, Luxury, and Vintage;
• Fashion’s Materials: Craft, Industry, and Innovation;
• Museum Worthy: Fashion and the Archive;
• Fashioning Cultural Identities: Case Studies.
Cultural Politics between the Second and Third Internationals
The German Left and Aesthetic Politics examines the articulation of contending materialist aesthetic practices within the ideological fractures of the German Left between the Second and Third International. It is hinged on the major literary critical contributions of Franz Mehring, representative of the Second, and Karl Wittfogel and Georg Lukacs representing the Third. Both parties focussed on the bourgeois revolutionary cultural heritage and how it might provide examples for emulation. However, post the 1918 November Revolution a radical politically avant-garde challenged that tradition, and through figures like the Berlin Dadaists, Piscator’s proletarian theatre and later Brecht, with contributions from dissident Marxist intellectuals, like Karl Korsch and Fritz Sternberg, asked other questions and proposed other answers. Revisiting the contexts and contents of these exchanges allows one to understand the serious role allocated to the cultural in constructing the ‘third pillar of socialism’, its integrative dimension.
Why was anxiety such a major issue for Søren Kierkegaard and his contemporaries? This book revisits the “original” age of anxiety, the time and place where Kierkegaard’s ground-breaking thoughts on anxiety were formed. The pseudonym used by Kierkegaard in The Concept of Anxiety (1844), Vigilius Haufniensis, is Latin for “the watchman of Copenhagen.” A guiding question is what the vigilant Haufniensis might have observed in his city—and especially in the literary culture of his time and day? Exploring freedom in many forms, Kierkegaard and his contemporaries found combinations of fear and desire that have later been considered symptomatic of modernity.
Encounters across Arts, Sciences and Humanities
Experimental Practices seeks to develop the status of science, art, and literature as truly experimental practices and forms of knowledge production – each borrowing from the other in order to further its drive to invention and innovation.
In times of environmental, political, and technological transformation and crisis, the urge to forge new alliances between the humanities, arts, and sciences has given rise to disciplinary hybrids, such as the environmental humanities, the medical humanities, artistic research, or the neurohumanities – all of which signal a turn towards ecological, more-than-human and posthumanist approaches in resonance with a broad array of worldly concerns. In this context, Experimental Practices is a platform for experimental forms of research at the intersections of the humanities, sciences, as well as activists outside academia around issues that shape contemporary and future cultures.
Taking “experimentation” as the practice, topic, and aim of the series, the editors welcome monographs or collected volumes around a specific concept or theme that contribute and enact a practice-based as well as theory-driven poetics of knowledge.
The series is committed to continue a fruitful collaboration with the international SLSA (Society for the Study of Literature, Science, and the Arts), including its independent European branch SLSAeu.

Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Christa Stevens.
Jean-Baptiste Du Bos’ Critical Reflections on Poetry and Painting, first published in French in 1719, is one of the seminal works of modern aesthetics. Du Bos rejected the seventeenth-century view that works of art are assessed by reason. Instead, he believed, audience members have sentiments in response to artworks. Their sentiments are fainter versions of those they would feel in response to actually seeing what the work of art imitates. Du Bos was influenced by John Locke’s empiricism and, in turn, had a major impact on virtually every major eighteenth-century contributor to philosophy of art, including Voltaire, Montesquieu, Diderot, Rousseau, Herder, Lessing, Mendelssohn, Kames, Gerard, and Hume. This is the first modern, annotated and scholarly edition of the Critical Reflections in any language.
Author: Noël Carroll
For over thirty years, Arthur Danto was the most important art critic and philosopher of art and aesthetics in the English-speaking world. Arthur Danto's Philosophy of Art: Essays provides a comprehensive and systematic view of his philosophy and criticism by Noël Carroll, Distinguished Professor of the Philosophy of Art, CUNY and himself a former journalist specializing in arts criticism. Danto's writings attracted and still attracts diverse audiences, including aestheticians, artists, art critics, historians, and art lovers. In this book they will find his major themes not only analyzed in depth but also discussions of his political significance, views on history, cinema and more.