Through a series of essays, Art and Ethical Criticism explores the complex relationship between the arts and morality. Reflects the importance of a moral life of engagement with works of art Forms part of the prestigious New Directions in Aesthetics series, which confronts the most intriguing problems in aesthetics and the philosophy of art today

Art and Belief presents twelve new essays at the intersection of philosophy of mind and philosophy of art, particularly to do with the relation between belief and truth in our experience of art. Several contributors discuss the cognitive contributions artworks can make and the questions surrounding these. Can authors of fiction testify to their readers? If they can, are they culpable for the false beliefs of their readers formed in response to their work? If they cannot, that is, if the testimonial powers of authors of fiction are limited, is there some non-testimonial epistemic role that fiction can play? And in any case, is such a role relevant when determining the value of the work? Also explored are issues concerned with the phenomenon of fictional persuasion, specifically, what is the nature of the attitude involved in such cases (those in which we form beliefs about the real world in response to reading fiction)? If these attitudes are typically unstable, unjustified, and unreliable, does this put pressure on the view that they are beliefs? If these attitudes are beliefs, does this put pressure on the view that all beliefs are aimed at truth? The final pair of papers in the volume take different stances on the nature of aesthetic testimony, and whether testimony of this kind is a legitimate source of beliefs about aesthetic properties and value.

The Aesthetics of Wine shows that discussing wine within theframework of aesthetics both benefits our understanding of wine asa phenomenon, while also challenging some of the basic assumptionsof the tradition of aesthetics. Analyzes the appreciation of wine as an aestheticpractice. Tackles prejudices against bodily senses, showing how theydistort traditional aesthetic theory Represents the beginnings of a reformulation of generalaesthetics

The Art of Comics is the first-ever collection of essays published in English devoted to the philosophical topics raised by comics and graphic novels. In an area of growing philosophical interest, this volume constitutes a great leap forward in the development of this fast expanding field, and makes a powerful contribution to the philosophy of art. The first-ever anthology to address the philosophical issues raised by the art of comics Provides an extensive and thorough introduction to the field, and to comics more generally Responds to the increasing philosophical interest in comic art Includes a preface by the renowned comics author Warren Ellis Many of the chapters are illustrated, and the book carries a stunning cover by the rising young comics star David Heatley

Now, for the first time, a philosopher undertakes a systematic investigation of the moral and aesthetic issues to which cultural appropriation gives rise. Cultural appropriation is a pervasive feature of the contemporary world (the Parthenon Marbles remain in London; white musicians from Bix Beiderbeck to Eric Clapton have appropriated musical styles from African-American culture) Young offers the first systematic philosophical investigation of the moral and aesthetic issues to which cultural appropriation gives rise Tackles head on the thorny issues arising from the clash and integration of cultures and their artifacts Questions considered include: “Can cultural appropriation result in the production of aesthetically successful works of art?” and “Is cultural appropriation in the arts morally objectionable?” Part of the highly regarded New Directions in Aesthetics series

The second half of the 19th Century saw a revolution in both European politics and philosophy. Philosophical fervour reflected political fervour. Five great critics dominated the European intellectual scene: Ludwig Feuerbach, Karl Marx, Soren Kierkegaard, Fyodor Dostoevsky, and Friedrich Nietzsche. "Nineteenth-Century Philosophy" assesses the response of each of these leading figures to Hegelian philosophy - the dominant paradigm of the time - to the shifting political landscape of Europe and the United States, and also to the emerging critique of modernity itself. Both individually and collectively, these thinkers succeeded in revolutionizing theology, philosophy, psychology, and politics. The period also saw the emergence of new schools of thought and new disciplinary thinking. The volume covers the birth of sociology and the social sciences, the development of French spiritualism, the beginning of American pragmatism, the rise of science and mathematics, and the maturation of hermeneutics and phenomenology.

This series originates in the Centre for Ethics, Philosophy and Public Affairs, University of St Andrews and is under the general editorship of John Haldane. The series includes monographs, collections of essays and occasional anthologies of source material representing study in those areas of philosophy most relevant to topic of public importance, with the aim of advancing the contribution of philosophy in the discussion of these topics. "The onset of the twenty-first century has seen increased interest in the theoretical foundations of socio-political thinking with a view to clarifying the bearing of philosophical principles upon issues of public interest. St. Andrews Studies in Philosophy and Public Affairs make a significant contribution to this important trend. They afford highly interesting, lucid and challenging studies of key issues of public concern, by a wide spectrum of writers, including some of the most interesting and influential thinkers of the day. This series is a must for academic libraries.' Nicholas Rescher, University of Pittsburgh, founding editor, Public Affairs Quarterly Aesthetic sensibility rests on perceptual experience and characterizes not only our experience of the arts but our experience of the world. Sensibility and Sense offers a philosophically comprehensive account of humans' social and cultural embeddedness encountered, recognized, and fulfilled as an aesthetic mode of experience. Extending the range of aesthetic experience from the stone of the earth's surface to the celestial sphere, the book focuses on the aesthetic as a dimension of social experience. The guiding idea of pervasive interconnectedness, both social and environmental, leads to an aesthetic critique of the urban environment, the environment of daily life, and of terrorism, and has profound implications for grounding social and political values. The aesthetic emerges as a powerful critical tool for appraising urban culture and political practice.

In this book Arnold Berleant develops a bold alternative to the eighteenth-century aesthetic of disinterestedness. Centering on the notion of participatory engagement in the appreciation of art, he explores its appearance in art and in aesthetic perception, especially during the past century. Aesthetic engagement becomes a key, both on historical and theoretical grounds, to making intelligible our experiences with both contemporary and classical arts. In place of the traditional aesthetic that enjoins the appreciator to adopt a contemplative attitude, distancing the art object in order to ensure its removal from practical uses, Art and Engagement examines the ways in which art entices us into intimate participation in its workings. Beginning with the historical and theoretical underpinnings of the idea of engagement, Berleant focuses on how engagement works as a force in different arts. Successive chapters pursue its influence in landscape painting, architecture and environmental design, literature, music, dance, and film. Art and Engagement argues forcefully for the originality and power of aesthetic perception. Demolishing the conceptual barriers erected by the Western world’s limiting tradition, the book discloses the condition of engagement that has always been present when our aesthetic encounters have been most effective and suggests a new direction for aesthetic inquiry.