Concerning beauty, order, harmony, design.--Concerning moral good and evil.

A key to modern studies of 18th century Western philosophy, the Treatise considers numerous classic philosophical issues, including causation, existence, freedom and necessity and morality. This abridged edition has an introduction which explain's Hume's thought and places it in the context of its times.

Museums are home to millions of artworks and cultural artifacts, some of which have made their way to these institutions through unjust means. Some argue that these objects should be repatriated (i.e. returned to their country or culture of origin). However, these arguments face a series of philosophical challenges. In particular, repatriation, even if justified, is often portrayed as contrary to the aims and values of museums. However, in this paper, I argue that some of the very considerations museums appeal (...) to in order to oppose repatriation claims can be turned on their heads and marshaled in favor of the practice. In addition to defending against objections to repatriation, this argument yields the surprising conclusion that the redistribution of cultural goods should be much more radical than is typically supposed. (shrink)

Beauty has captured human interest since before Plato, but how, why, and to whom does beauty matter in today's world? Whose standard of beauty motivates African Americans to straighten their hair? What inspires beauty queens to measure up as flawless objects for the male gaze? Why does a French performance artist use cosmetic surgery to remake her face into a composite of the master painters' version of beauty? How does beauty culture perceive the disabled body? Is the constant effort to (...) remain young and thin, often at considerable economic and emotional expense, ethically justifiable? Provocative essays by an international group of scholars discuss beauty in aesthetics, the arts, the tools of fashion, the materials of decoration, and the big business of beautification—beauty matters—to reveal the ways gender, race, and sexual orientation have informed the concept of beauty and driven us to become more beautiful. Here, Kant rubs shoulders with Calvin Klein. Beauty Matters draws from visual art, dance, cultural history, and literary and feminist theory to explore the values and politics of beauty. Various philosophical perspectives on ethics and aesthetics emerge from this penetrating book to determine and reveal that beauty is never disinterested. Foreward by Eleanor Heartney; "Introduction" by Peg Brand [Weiser] included here. Authors include Marcia M. Eaton, Noel Carroll, Paul C. Taylor, Arthur C. Danto, Kathleen M. Higgins, Susan Bordo, Dawn Perlmutter, Eva Kit Wah Man, Anita Silvers, Hilary Robinson, Kaori Chino, Sally Banes, and Peg Brand's essay "Bound to Beauty: An Interview with Orlan." (available on PhilPapers). (shrink)

'Pain and pleasure are simple ideas, incapable of definition.'In 1757 the 27-year-old Edmund Burke argued that our aesthetic responses are experienced as pure emotional arousal, unencumbered by intellectual considerations. In so doing he overturned the Platonic tradition in aesthetics that had prevailed from antiquity until the eighteenth century, and replaced metaphysics with psychology and even physiology as the basis for the subject. Burke's theory of beauty encompasses the female form, nature, art, and poetry, and he analyses our delight in sublime (...) effects that thrill and excite us. His revolution in method continues to have repercussions in the aesthetic theories of today, and his revolution in sensibility has paved the way for literary and artistic movements from the Gothic novel through Romanticism, twentieth-century painting, and beyond. In this new edition 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. (shrink)

In The Abuse of Beauty, art critic and philosopher Arthur Danto explains how the notion of beauty as anathema to art arose and flourished and offers a new way of looking at art and beauty. He draws on the thought of artists, critics, and philosophers such as Rimbaud, Fry, Matisse, and Greenberg, to reposition beauty as one of many modes -- along with sexuality, sublimity, disgust, and horror -- through which the human sensibility expresses itself. 20 black-and-white illustrations are included.

Human Beauty 3. Natural Beauty 4. Everyday Beauty 5. Artistic Beauty 6. Taste and Order 7. Eros and Art 8. Sacred Beauty Notes and Further Reading.

A provocative critique of Western attitudes about the Orient, this history examines the ways in which the West has discovered, invented, and sought to control the East from the 1700s to the present.

Neither art nor philosophy was kind to beauty during the twentieth century. Much modern art disdains beauty, and many philosophers deeply suspect that beauty merely paints over or distracts us from horrors. Intellectuals consigned the passions of beauty to the margins, replacing them with the anemic and rarefied alternative, "aesthetic pleasure." In Only a Promise of Happiness, Alexander Nehamas reclaims beauty from its critics. He seeks to restore its place in art, to reestablish the connections among art, beauty, and desire, (...) and to show that the values of art, independently of their moral worth, are equally crucial to the rest of life.Nehamas makes his case with characteristic grace, sensitivity, and philosophical depth, supporting his arguments with searching studies of art and literature, high and low, from Thomas Mann's Death in Venice and Manet's Olympia to television. Throughout, the discussion of artworks is generously illustrated.Beauty, Nehamas concludes, may depend on appearance, but this does not make it superficial. The perception of beauty manifests a hope that life would be better if the object of beauty were part of it. This hope can shape and direct our lives for better or worse. We may discover misery in pursuit of beauty, or find that beauty offers no more than a tantalizing promise of happiness. But if beauty is always dangerous, it is also a pressing human concern that we must seek to understand, and not suppress. (shrink)

This essay explores the implications of Irigaray's discussion of the concept "beauty" . . . Her writings indicate moments of strategic or structural possibility from which women can create beauties appropriate to their subjectivities, and outline how becoming subjects, women, and mediating the resultant subjectivity is in itself to create beauty. Although in Western culture the Symbolic has a phallocentric syntax and what is read as beauty of body and beauty in art are products of phallocentric structures, nonetheless moments of (...) resistance and disruption can be discerned in contemporary artworks by women. It is against the backdrop of Irigaray's reconfiguring of "beauty" that I discuss some of these works. (shrink)

First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.

Drawing on the art, literature, and social sciences involved, Santayana discusses the nature of beauty, form, and expression.

Women, Art, and Power?seven landmark essays on women artists and women in art history?brings together the work of almost twenty years of scholarship and speculation.

A dissertation in the tradition of logical positivism includes a discussion of the functions and methods of philosophy and a critique of ethics and theology.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)