_The Continental Aesthetics Reader_ brings together classic and contemporary writings on art and aesthetics from the major figures in continental thought. The second edition is clearly divided into seven sections: Nineteenth-Century German Aesthetics Phenomenology and Hermeneutics Marxism and Critical Theory Excess and Affect Embodiment and Technology Poststructuralism and Postmodernism Aesthetic Ontologies. Each section is clearly placed in its historical and philosophical context, and each philosopher has an introduction by Clive Cazeaux. An updated list of readings for this edition includes selections (...) from Agamben, Butler, Guattari, Nancy, Virilio, and Žižek. Suggestions for further reading are given, and there is a glossary of over fifty key terms. Ideal for introductory courses in aesthetics, continental philosophy, art, and visual studies, _The Continental Aesthetics Reader_ provides a thorough introduction to some of the most influential writings on art and aesthetics from Kant and Hegel to Badiou and Rancière. (shrink)

Alain Badiou, one of the most powerful voices in contemporary French philosophy, shows how our prevailing ethical principles serve ultimately to reinforce an ...

The article clarifies the way in which ‘the aesthetic’ is conceptualised in relation to business ethics in order to assess its potential to inform theory building and developmental practices within the business ethics field. A systematic review of relevant literature is undertaken which identifies three ontologically based accounts of the relationship between the aesthetic and business ethics: ‘positive’ ones, ‘negative’ accounts and ‘Postmodern’ renderings. Five epistemologically based approaches are also made explicit: those in which the aesthetic is thought to develop (...) enhanced perceptual discernment, those in which the aesthetic catalyses emotional sensitivity, those in which the aesthetic contributes to imaginative capacity, those in which the aesthetic prompts integrative apprehension and those in which the aesthetic is seen to foster critical reflexivity. The review reveals two key findings: firstly, the dearth of empirically based research to substantiate claims made about the aesthetic’s ability to foster ethical capabilities, which leads to proposals for further research; secondly, the analysis indicates the significance of critical reflexivity both in resolving the apparent dichotomy between ontologically based perspectives asserting the aesthetic’s ability to lead to ethically sound or egregious behaviour, and in underpinning the capacities of perceptual discernment, emotional connectivity, imagination and integrative apprehension which epistemologically based approaches assert the aesthetic can foster. (shrink)

In a commercial society, said Adam Smith, “every man becomes in some measure a merchant.” If Smith is right, what does that mean for the character of the society? This paper addresses the character forming effects of the market—and, specifically its impact on the “virtues.” There is a long tradition of viewing commerce as subversive of the virtues. In this view, the market is held to have legitimated the pursuit of narrow self-interest at the expense of social and civic obligations (...) and moral restraints. But, as Albert Hirschman has shown, many Enlightenment moralists saw commercial society as a moralizing force. Which view is right? This paper examines how many of the character traits that we commonly call virtues are rewarded— and so presumably reinforced and diffused—by the market. In this way, the market (as it were by a hidden hand) strengthens its own foundations and reproduces a moral culture that is functional to its own needs. (shrink)

After exploring MacIntyre’s (1985) practice—institution distinction, the article demonstrates its applicability to business-as-practice and to corporations as institutions. It then considers the implications of MacIntyre’s schema to ethical schizophrenia, to the claim that themarket is a source of the virtues and to the opposite claim that capitalism corrodes character. A fully worked out modern virtue ethics, based on MacIntyre’s work, is then established and the claim is made and substantiated that such an understanding of MacIntrye’s work revitalises it and makes (...) it directly applicable to business and to corporations. (shrink)

The Art Firm explores the seemingly unorthodox alliance of the arts, management, and marketing. Art firms—as avant-garde enterprises and arts corporations—have existed for at least two hundred years, using texts, images, and other types of art to create corporate wealth. This book investigates how to apply the methods artists use in creating value to the methods more traditional managers use in running their businesses. Guillet de Monthoux offers a crash course in aesthetics from Kant to Gadamer, showing how aesthetic management (...) and metaphysical marketing can create value. Using case studies of successful art managers from Richard Wagner to Robert Wilson, the author illustrates the creative role—so central to value-making in contemporary economies—performed by aesthetic play in art firms. Along the way, Guillet de Monthoux points out how responsible aesthetic management and marketing can eradicate the problems of banality and totality, the two capital sins of an art-based economy. (shrink)

Scholars are increasingly interested in possible relationships between aesthetics and ethics and in the pedagogical value of art. This paper considers some specific works of art and explores their multi-faceted relation to ethics and morality. I argue that art has both positive and negative relationships to ethics and morality (which I distinguish in a very rough way as the paper progresses). Art works of various sorts may productively be used in the business ethics classroom,but instructors need to keep in mind (...) the multivalent relationship between art, on the one hand, and ethics and morality on the other. (shrink)

In a commercial society, said Adam Smith, “every man becomes in some measure a merchant.” If Smith is right, what does that mean for the character of the society? This paper addresses the character forming effects of the market—and, specifically its impact on the “virtues.” There is a long tradition of viewing commerce as subversive of the virtues. In this view, the market is held to have legitimated the pursuit of narrow self-interest at the expense of social and civic obligations (...) and moral restraints. But, as Albert Hirschman has shown, many Enlightenment moralists saw commercial society as a moralizing force. Which view is right? This paper examines how many of the character traits that we commonly call virtues are rewarded— and so presumably reinforced and diffused—by the market. In this way, the market (as it were by a hidden hand) strengthens its own foundations and reproduces a moral culture that is functional to its own needs. (shrink)

So far aesthetics has played a limited role in our understanding of business activity, focused mainly on evaluating product quality and the character qualities (virtues) of the firm that produced them We draw on Heidegger’s fuller account of aesthetic value to show how a firm—like a work of art – can disclose the way human projects and technologies are already at work in a given context. In this way, we show that firms play an essential role in human self-understanding—a role (...) that Heidegger assigns primarily to works of art. We then apply the Heideggerian approach to the contemporary turn to artisanal products such as personalized handcrafts, craft beer and the “third wave” coffee movement. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Logic of the SiteAlain Badiou (bio)Translated by Steve Corcoran (bio) and Bruno Bosteels (bio)The Commune Is a Site 1. Ontology of the CommuneTake any world whatsoever. A multiple that is an object of this world—whose elements are indexed by the transcendental of this world—is a site, if it happens to count itself within the referential field of its own indexation. Or again: a site is a multiple that happens (...) to behave in the world with regard to itself as with regard to its elements, in such a way as to be the support of being of its own appearance.Even if the idea is still obscure, we can begin to see its content: a site is a singularity, because it convokes its being in the appearing of its own multiple composition. It makes itself, in the world, the being-there of its being. Among other consequences, the site gives itself an intensity of existence. A site is a being that happens to exist by itself.We will ask: can we give a more concrete idea of what a site is? Is there a site?Let us consider the world "Paris at the end of the Franco-Prussian War of 1870." We are in the month of March 1871. After a semblance of resistance, and shot through with fear of revolutionary and worker Paris, the interim government of bourgeois "Republicans" capitulates to Bismarck's Prussians. In order to consolidate this political "victory"—very comparable to Petain's reactionary revenge in 1940 (where preferring an arrangement with the external enemy to exposure to the internal enemy)—it has an assembly with a royalist majority hastily elected by a frightened rural world, an assembly that sits in Bordeaux.Led by Thiers, the government hopes to take advantage of the circumstances to annihilate the political capacity of the workers. But on the Parisian front, the proletariat is armed in the form of a National Guard, owing to its having been mobilized during the siege on Paris. In theory the Parisian proletariat has many hundreds of cannons at its disposition. The "military" organism of the Parisians is the Central Committee, at which assemble the delegates of the various battalions of the National Guard, battalions [End Page 141] that are in turn linked to the great working-class quartiers of Paris—Montmartre, Belleville, and so forth.Thus we have a divided world whose logical organization—what in philosophical jargon could be called its transcendental organisation—reconciles intensities of political existence according to two sets of antagonistic criteria. Concerning the representative, electoral, and legal dispositions, one cannot but observe the preeminence of the Assembly of traditionalist Rurals,1 Thiers's capitulard government, and the officers of the regular army, who, having been licked without much of a fight by the Prussian soldiers, dream of doing battle with the Parisian workers. That is where the power is, especially as it is the only power recognized by the occupier. On the side of resistance, political intervention, and French revolutionary history, there is the fecund disorder of Parisian worker organizations, which intermingles with the Central Committee of the twenty quartiers, the Federation of Syndicate Chambers, a few members of the International, local military committees. In truth, the historical consistency of this world, which had been separated and disbanded [délié] owing to the war, is held together only by the majority conviction that no kind of worker capability for government exists. For the vast majority of people, including often the workers themselves, the politicized workers of Paris are simply incomprehensible. These workers are the inexistent aspect [l'inexistant propre] of the term "political capacity" in the uncertain world of the spring of 1871. But for the bourgeoisie they are still too existent, at least physically. The government receives threats from the stock exchange of this sort: "You will never have financial operations if you do not get rid of these reprobates." First up then, an imperative task, and a seemingly easy one to carry out: disarm the workers and, in particular, recuperate the cannons spread throughout working-class Paris by the military committees of the National Guard. It is this initiative that will make... (shrink)

In part 1 of the paper, I develop a Platonic business ethic, emphasizing Plato’s Republic. I approach business ethics from a virtue ethics position, and I attempt to show that a Platonic craftsmanship model infuses a corporation with a type of managerial wisdom and justice, molds temperate and courageous corporate characters, and entails a morally fine type of self-interest. I also show that it is basic to two influential management theories.In part 2, I use Amartya Sen’s Development as Freedom to (...) show that the craftsmanship model is central to the concept of development. This concept is important in ethical discussions of both globalization and transnational corporations. Thus, I attempt to globalize Platonic business ethics using a craftsmanship model.In my concluding remarks, I attempt to show that the Plato/Sen position on development can be illustrated by both American and non-American capitalist firms functioning in our globalized world. (shrink)

The Aesthetic Relation is a companion volume to The Work of Art: Immanence and Transcendence, published by Cornell in 1997.