Art has the capacity to shape and alter our identities. It can influence who and what we are. Those who have had aesthetic experiences know this intimately, and yet the study of art’s impact on the mind struggles to be recognized as a centrally important field within the discipline of psychology. The main thesis of
Art and Identity is that aesthetic experience represents a prototype for meaningful experience, warranting intense philosophical and psychological investigation. Currently psychology remains too closed-off from the rich reflection of philosophical aesthetics, while philosophy continues to be sceptical of the psychological reduction of art to its potential for subjective experience. At the same time, philosophical aesthetics cannot escape making certain assumptions about the psyche and benefits from entering into a dialogue with psychology.
Art and Identity brings together philosophical and psychological perspectives on aesthetics in order to explore how art creates minds.
Roman Ingarden’s Philosophy of Literature Wojciech Chojna discusses Ingarden’s theory of literary works and develops a phenomenological account of identity which accommodates differences in interpretations and value judgments without succumbing to relativism. The latter is overcome not through falling back on essentialism but from within relativism.
Literature offers us diverse experiences changing our perceptions of ourselves and the worlds we live in. Absolutism proclaiming unmitigated access to the meaning of literary texts is intolerant of differences and leads to violence in life. Conversely, relativism, in the illusory spirit of radical tolerance, turns meanings and values into historically contingent, incompatible interpretations, where communication and reconciliation is impossible, thus justifying ideological conflicts and violence.
Original Copies in Georges Perec and Andy Warhol is the first book to explore striking similarities between the works of these celebrated figures of the twentieth century. Copies abound in Perec’s œuvre, where pastiches, paintings, and intertexts dialogue with the history of copying in the past and present, in literature and in art. Both here and in Warhol’s works, the source of the copies is difficult to pinpoint, shrouded in a fog linked to death. This remarkable parallel provides insight into their widely-admired works and a postmodern aesthetic where the original is stripped of its value and the copy reigns supreme. In this study of the original and the copy, Wadhera illuminates the nature of art itself.
"Posthumanism" may be understood as the paradigm that succeeds humanism, but also as the study of what might follow humanity's ends. After prompting an initial sense of novelty and shock, posthumanism has become a discourse whose unsettling anticipations of the future and timely critiques of the present have firmly established themselves within the academy. Posthumanism’s concerns—typically relating to the impacts of bio- and digital technology on body, mind, culture, and epistemology—are now part of mainstream debate within the humanities and within interdisciplinary explorations of the integrity of the human.
Critical Posthumanisms is a new series focusing on the exciting rise of posthumanism and its probable directions. It makes available studies by scholars whose perspectives on the posthuman vary in important and interesting ways, and should serve as a crucial point of reference for anybody working within the field.
Books within the series provide:
(a) analyses of the histories, idioms, and canons of different “posthumanisms”;
(b) discussion of the main thinkers and trends of posthumanism;
(b) alternative formulations of posthumanism, which downplay the centrality of technology;
(c) philosophical and political critiques of the "prosthesization" of the human;
(d) cross-disciplinary takes on posthumanism, particularly those allowing the humanities to engage with areas like Artificial Intelligence, Biotechnology, Virtual Reality, etc.
Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL,
Manuscripts for this series should eventually follow MHRA style, and preferably use UK spelling.
Art and Science in Word and Image investigates the theme of ‘riddles of form’, exploring how discovery and innovation have functioned inter-dependently between art, literature and the sciences.
Using the impact of evolutionary biologist D’Arcy Thompson’s
On Growth and Form on Modernist practices as springboard into the theme, contributors consider engagements with mysteries of natural form in painting, photography, fiction, etc., as well as theories about cosmic forces, and other fields of knowledge and enquiry. Hence the collection also deals with topics including cultural inscriptions of gardens and landscapes, deconstructions of received history through word and image artworks and texts, experiments in poetic materiality, graphic re-mediations of classic fiction, and textual transactions with animation and photography.
Contributors are: Dina Aleshina, Márcia Arbex, Donna T. Canada Smith, Calum Colvin, Francis Edeline, Philippe Enrico, Étienne Février, Madeline B. Gangnes, Eric T. Haskell, Christina Ionescu, Tim Isherwood, Matthew Jarron, Philippe Kaenel, Judy Kendall, Catherine Lanone, Kristen Nassif, Solange Ribeiro de Oliveira, Eric Robertson, Frances Robertson, Cathy Roche-Liger, David Skilton, Melanie Stengele, Barry Sullivan, Alice Tarbuck, Frederik Van Dam.