Mimesis, the notion that art imitates reality, has long been recognized as one of the central ideas of Western aesthetics and has been most frequently associated with Aristotle. Less well documented is the great importance of mimetic theories of literature, theater, and the visual arts during the Renaissance and the Enlightenment. In this book, the most comprehensive overview of the theory of mimesis since Auerbach's monumental study, Gunter Gebauer and Christoph Wulf provide a thorough introduction to the complex and shifting (...) meanings of the term. Beginning with the Platonic doctrine of imitation, they chart the concept's appropriation and significance in the aesthetic theories of Aristotle, Molière, Shakespeare, Racine, Diderot, Lessing, and Rousseau. They examine the status of mimesis in the nineteenth-century novel and its reworking by such modern thinkers as Benjamin, Adorno, and Derrida. Widening the traditional understanding of mimesis to encompass the body and cultural practices of everyday life, their work suggests the continuing value of mimetic theory and will prove essential reading for scholars and students of literature, theater, and the visual arts. (shrink)

What makes this work so important is that it returned the body to the forefront of philosophy for the first time since Plato.

The author introduces and explains the flow psychological theory. He demonstrates how it is possible to improve the quality of life by controlling the information that enters the consciousness.

A. NATURAL. HISTORY. OF. THE. SENSES. “This is one of the best books of the year—by any measure you want to apply. It is interesting, informative, very well written. This book can be opened on any page and read with relish.... thoroughly  ...

The essays presented here by Olkowski and Weiss attempt to situate Merleau-Ponty in the larger context of feminist theory, while impartially evaluating his contributions, both positive and negative, to that theory.

INTRODUCTION HOW DIFFERENT — HOW DOWNRIGHT INCONGRUOUS — the philosophical essays and the ad hoc, primarily political observations which make up this volume ...

Mimesis, the notion that art imitates reality, has long been recognized as one of the central ideas of Western aesthetics and has been most frequently associated with Aristotle. Less well documented is the great importance of mimetic theories of literature, theater, and the visual arts during the Renaissance and the Enlightenment. In this book, the most comprehensive overview of the theory of mimesis since Auerbach's monumental study, Gunter Gebauer and Christoph Wulf provide a thorough introduction to the complex and shifting (...) meanings of the term. Beginning with the Platonic doctrine of imitation, they chart the concept's appropriation and significance in the aesthetic theories of Aristotle, Molière, Shakespeare, Racine, Diderot, Lessing, and Rousseau. They examine the status of mimesis in the nineteenth-century novel and its reworking by such modern thinkers as Benjamin, Adorno, and Derrida. Widening the traditional understanding of mimesis to encompass the body and cultural practices of everyday life, their work suggests the continuing value of mimetic theory and will prove essential reading for scholars and students of literature, theater, and the visual arts. (shrink)

Challenging and rewarding in equal measure, _Phenomenology of Perception_ is Merleau-Ponty's most famous work. Impressive in both scope and imagination, it uses the example of perception to return the _body_ to the forefront of philosophy for the first time since Plato. Drawing on case studies such as brain-damaged patients from the First World War, Merleau-Ponty brilliantly shows how the body plays a crucial role not only in perception but in speech, sexuality and our relation to others. Perhaps above all, Merleau-Ponty's (...) insights about the embodied mind are a bold and refreshing challenge to the new era of virtual reality and artificial intelligence, as scientists and psychologists discover the centrality of the body to mind and intelligence. (shrink)

First published in 1945, Maurice Merleau-Ponty’s monumental _Phénoménologie de la perception _signalled the arrival of a major new philosophical and intellectual voice in post-war Europe. Breaking with the prevailing picture of existentialism and phenomenology at the time, it has become one of the landmark works of twentieth-century thought. This new translation, the first for over fifty years, makes this classic work of philosophy available to a new generation of readers. _Phenomenology of Perception _stands in the great phenomenological tradition of Husserl, (...) Heidegger, and Sartre. Yet Merleau-Ponty’s contribution is decisive, as he brings this tradition and other philosophical predecessors, particularly Descartes and Kant, to confront a neglected dimension of our experience: the lived body and the phenomenal world. Charting a bold course between the reductionism of science on the one hand and "intellectualism" on the other, Merleau-Ponty argues that we should regard the body not as a mere biological or physical unit, but as the body which structures one’s situation and experience within the world. Merleau-Ponty enriches his classic work with engaging studies of famous cases in the history of psychology and neurology as well as phenomena that continue to draw our attention, such as phantom limb syndrome, synaesthesia, and hallucination. This new translation includes many helpful features such as the reintroduction of Merleau-Ponty’s discursive Table of Contents as subtitles into the body of the text, a comprehensive Translator’s Introduction to its main themes, essential notes explaining key terms of translation, an extensive Index, and an important updating of Merleau-Ponty’s references to now available English translations. Also included is a new foreword by Taylor Carman and an introduction to Merleau-Ponty_ _by Claude Lefort. Translated by Donald A. Landes. (shrink)

"The location of the author’s investigations, the body itself rather than the sphere of subjective representations of self and of function in cultures, is wholly new.... I believe this work will be a landmark in future feminist thinking." —Alphonso Lingis "This is a text of rare erudition and intellectual force. It will not only introduce feminists to an enriching set of theoretical perspectives but sets a high critical standard for feminist dialogues on the status of the body." —Judith Butler Volatile (...) Bodies demonstrates that the sexually specific body is socially constructed: biology or nature is not opposed to or in conflict with culture. Human biology is inherently social and has no pure or natural "origin" outside of culture. Being the raw material of social and cultural organization, it is "incomplete" and thus subject to the endless rewriting and social inscription that constitute all sign systems. Examining the theories of Freud, Lacan, Merleau-Ponty, Foucault, Deleuze, Derrida, etc. on the subject of the body, Elizabeth Grosz concludes that the body they theorize is male. These thinkers are not providing an account of "human" corporeality but of male corporeality. Grosz then turns to corporeal experiences unique to women—menstruation, pregnancy, childbirth, lactation, menopause. Her examination of female experience lays the groundwork for developing theories of sexed corporeality rather than merely rectifying flawed models of male theorists. (shrink)

Explores how continental philosophy can inform environmental ethics.

This book contains the unfinished manuscript and working notes of the book Merleau-Ponty was writing when he died.

This book consists of Northwestern University Studies in Phenomenology and Existential Philosophy.

Earthbodies describes how our bodies are open circuits to a sensual magic and planetary care that when closed off leads to disastrous detours, such as illness, ...

Applying contemporary pragmatism to the crucial question of how philosophy can help us live better, Shusterman develops his distinctive aesthetic model of philosophical living that includes politics, somatics, and ethnicity, while critically engaging the rival views of Dewey, Wittgenstein, and Foucault, as well as Rorty, Putnam, Goodman, Habermas, and Cavell.

Applying contemporary pragmatism to the crucial question of how philosophy can help us live better, Shusterman develops his distinctive aesthetic model of philosophical living that includes politics, somatics, and ethnicity, while critically engaging the rival views of Dewey, Wittgenstein, and Foucault, as well as Rorty, Putnam, Goodman, Habermas, and Cavell.

Mimesis: the idea of imitation. Alterity: the idea of difference, the opposition of Self and Other. In his most accomplished work to date, Michael Taussig explores these complex and often interwoven concepts. Arguing that mimesis is the nature that culture uses to create second nature, he maintains that mimesis - variously experienced in different societies - is not only a faculty but also a history. That history, Taussig writes, is deeply tied to "Euroamerican colonialism, the felt relation of the civilizing (...) process to savagery, to aping, sensateness caught in the net of passionful images spun for several centuries by the colonial trade with wildness." For anthropologists, social scientists, cultural critics, artists and everyone else caught up in the enigma of the postmodern, framing the question "What is Reality" is crucial to gaining an understanding of what it is we know and who we are. Why is it important to understand that traditions are inventions and that social life is a construction when they grip us with all the force of the "natural"? And how is it that we understand reality as both real and really made up? In Mimesis and Alterity Taussig undertakes an eccentric history of the mimetic faculty. He moves easily from the nineteenth-century invention of mimetically capacious machines, such as the camera, backwards to the fable of colonial "first-contact" and alleged mimetic prowess of "primitives," and then forward to contemporary time, when the idea of alterity is increasingly unstable. Utilizing anthropological theory, Taussig blends Latin American ethnography and colonial history with the insights of Walter Benjamin, Adorno and Horkheimer. Vigorous and unorthodox, Taussig's understanding of mimesis in different cultures deepens our meanings of ethnography, racism and society. (shrink)

The ills of education are caused, Kieran Egan argues, by the fact that we have inherited three major educational ideas, each of which is incompatible with the other two. Is the purpose of education to make good citizens and inculcate socially relevant skills and values? Or is it to master certain bodies of knowledge? Or is it the fulfillment of each student's unique potential? These conflicting goals bring about clashes at every level of the educational process, from curriculum decisions to (...) teaching methods. Egan's analysis is cool, clear, and wholly original, and his diagnosis is as convincing as it is unexpected. Not content with a radical diagnosis, Egan presents us with a new and sophisticated alternative. Egan reconceives education as our learning to use particular "intellectual tools" - such as language or literacy - which shape how we make sense of the world. These mediating tools generate successive kinds of understanding: somatic, mythic, romantic, philosophical, and ironic. As practical as it is theoretically innovative, Egan's account concludes with practical proposals for how teaching and curriculum could be changed to reflect the ways we actually learn. (shrink)

This expanded second edition carries forward the initial insights into the biological and existential significances of animation by taking contemporary research findings in cognitive science and philosophy and in neuroscience into critical and constructive account. It first takes affectivity as its focal point, elucidating it within both an enactive and qualitative affective-kinetic dynamic. It follows through with a thoroughgoing interdisciplinary inquiry into movement from three perspectives: mind, brain, and the conceptually reciprocal realities of receptivity and responsivity as set forth in (...) phenomenology and evolutionary biology, respectively. It ends with a substantive afterword on kinesthesia, pointing up the incontrovertible significance of the faculty to cognition and affectivity. Series A. (shrink)