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This book is a compendium of writings from the last ten years by one of the leading figures in aesthetics, Jerrold Levinson. It contains twenty-four essays and is divided into seven parts. The first is about issues relating to art in general, not specific to one art form. The second is about philosophical problems specific to music. The third part focuses on pictorial art, and the fourth on interpretation, in particular, the interpretation of literature. The remaining parts of the book discuss aesthetic properties, issues in historical aesthetics, humor, and intrinsic value.

Why does public management—the art of the state—so often go wrong, producing failure and fiasco instead of public service, and what are the different ways in which control or regulation can be applied to government? Why do we find contradictory recipes for the improvement of public services, and are the forces of modernity set to produce worldwide convergence in ways of organizing government? This study aims to explore such questions, which are central to debates over public management. It combines contemporary and historical experience, and employs grid/group cultural theory as an organizing frame and method of exploration. Using examples from different places and eras, the study seeks to identify the recurring variety of ideas about how to organize public services—and contrary to widespread claims that modernization will bring a new global uniformity, it argues that variety is unlikely to disappear from doctrine and practice in public management. The book has three parts. Part I, Introductory, has three chapters that discuss various aspects of public management. Part II, Classic and Recurring Ideas in Public Management, has four chapters that discuss various ways of doing public management. Part III, Rhetoric, Modernity, and Science in Public Management, has three chapters that discuss the rhetoric, and culture of public management, contemporary public management, and the state of the art of the state.

The first chapter addresses the criteria of adequacy of a theory of art. Chapters 2-5 are constructive — they advance a positive view of the nature of art, explore its consequences, and defend it against objections. The last two chapters are destructive — they argue against other views of the nature of art, and they do so by contrast with the kind of view put forward earlier, and in the light of the groundrules laid down in the first chapter.

This volume, a sequel to the author's earlier book The Beauty of the Cross, carries the study of Christian soteriology into the Renaissance, Reformation and Counter‐Reformation eras. Drawing on original documents and classic works of art and music, it uses the theology of the passion to exemplify the parallels and the divergences between conceptual and aesthetic theologies of this era, which represented a crucial turning point in both religion and the arts. The book examines the two great revolutionary movements that gave birth to the modern West, the Renaissance and the Protestant Reformation, showing how they affected each other and transformed Christian thinking and imagination. After an introductory section dealing with a “paradigmatic” artistic portrayal of the Passion, each chapter examines the “theoretical” as well as the “aesthetic” mediations of the theology of the Passion of Christ and its relationship to human salvation. The theologies of Savonarola, Vincent Ferrer, Gabriel Biel and the nominalists, Luther, Calvin, Robert Bellarmine, and the Council of Trent are examined as examples of the early Catholic Reformation, the Protestant Reformation, and the Catholic Counter‐Reformation. These are placed in correlation to the new situation of art in the era of Frà Angelico, Leonardo, Michelangelo, Dürer, Cranach, and the Mannerists. In addition to specifically theological themes, the book explores the effects of theology and preaching on the arts, examining the iconoclasm of some of the early Reformers, the use of pictorial art in service of the word in Lutheranism, and the regulation of the arts by the Council of Trent.

This is an account of the establishment of the Arts and Humanities Research Council (AHRC) from among the Research Councils of the United Kingdom in 2005. It focuses on the campaign carried forward from the 1997 Dearing Report to the 2004 Higher Education Act to establish a public agency investing in humanities and arts research that would be equivalent to those funding natural and social science research. Built on interviews with leading participants, regional and national press coverage, and analysis of influential national studies, this book shows how engagement with contemporary issues — the knowledge economy, devolution, and the expansion of higher education — as well as a long tradition of scholarly excellence, led to the fashioning of a new model funding agency: an agency that addressed frontier issues in the arts and humanities such as increasing the scale of research, substantive collaboration with scientific fields, and explicit consideration of the results of research.

This book is a re-examination of the rationalist tradition of aesthetics which prevailed in Germany in the late 17th and 18th century. It is partly an historical survey of the central figures and themes of this tradition, but it is also a philosophical defence of some of its leading ideas such as: that beauty plays an integral role in life; that aesthetic pleasure is the perception of perfection; and that aesthetic rules are inevitable and valuable. It shows that the criticisms of Kant and Nietzsche of this tradition are largely unfounded. The rationalist tradition deserves re-examination because it is of great historical significance, marking the beginning of modern aesthetics, art criticism, and art history.

This book explores an issue at the nerve of the long-term health of all churches: how godly wonder can be reborn through renewed attention to the place of beauty in preaching and worship. The book opens with an exploration of the theological and cultural difficulties of defining beauty. It traces the church’s historical ambivalence about beauty and art, and how in our own day the concept of beauty has been commercialized and degraded. Troeger develops a theologically informed aesthetic that provides a countercultural vision of beauty flowing from the love of God. The book then demonstrates how preachers can reclaim the place of beauty in preaching and worship. Chapter 2 employs the concept of midrash to mine the history of congregational song as a resource for sermons. Chapter 3 introduces methods from musicology for creating sermons on instrumental and choral works and for integrating word and music more effectively. Chapter 4 explores how the close relationship between poetry and prayer can stir the homiletical imagination. Each of these chapters includes a selection of the author’s sermons illustrating how preachers can use these varied art forms to open a congregation to the beauty of God. A final chapter recounts the responses of congregation members to whom the sermons were delivered. It uses the insights gained from those experiences to affirm how the human heart hungers for a vision of wonder and beauty that empowers people to live more faithfully in the world.

This volume collects together lectures by distinguished scholars. One lecture examines medieval religious relics, focusing on what they actually comprised and asking how these paltry items came to be so highly valued. Another lecture takes the authentic medieval Welsh literary corpus associated with Owain Glyndwr, consisting in the main of bardic eulogies rather than prophecies, and examines them in their historical context. A lecture on Alexander Pope asks what part Shaftesbury's polite wit, Mandeville's cynicism, and Augustan sentimentalism played in the poetry of England's greatest satirist. Another lecture focuses on the Romantic poets' fascination with the lens-made and projected images that the modern world has come to think of as the virtual image. A further lecture examines the choices made by young musicians in Renaissance Italy. The next lecture examines how the paradoxical doctrine of ‘the one and the multiple’ was translated into visual language in Chinese Buddhist art. In some cases, groups related to certain numbers bearing metaphorical significances; while in others, objects were simply replicated in large numbers to create a sense of awe. The final lecture explores the way the natural history of the Americas was exported to 16th-century northern European scientists and how they reacted intellectually and politically.

This book explains the perceptual knowledge involved in aesthetic judgements. It does so by linking Kant's aesthetics to a critically upgraded account of his theory of knowledge. This upgraded theory emphasizes conceptual and imaginative structures, which Kant terms respectively, ‘categories’ and ‘schemata’. By describing examples of aesthetic judgement, it is shown that these judgements must involve categories and fundamental schemata (even though Kant himself, and most other commentators, have not fully appreciated the fact). It is argued, in turn, that this shows the aesthetic to be not just one kind of pleasurable experience amongst others, but one based on factors necessary to objective knowledge and personal identity, and one, indeed, which plays a role in how these capacities develop. The explanation of how individual aesthetic judgements claim universal validity, and the aesthetic basis of art, however, requires that the Kantian position is developed further. This is done by exploring his ideas concerning critical comparisons in the cultivation of taste, and art's relation to aesthetic ideas and genius. By linking earlier points to a more developed account of comparative critical factors, the Kantian approach offers a satisfying and comprehensive explanation of aesthetic experience and fine art. It is shown to also encompass some kinds of avant-garde work that were previously thought to limit its relevance.

The Necessity of Theater examines the whole art of theater, which teaches us how best to watch and be watched, and is as necessary to human life as language. We practice the art of theater on the formal stage, but also in sports events, weddings, and ceremonies of all kinds. The book begins by defining the art in a broad way, so as to include as many kinds of theater as possible across world cultures. After defining theater, The Necessity of Theater examines in turn each of the main elements of its two main components: the art of watching and that of being watched. Performers practice the art of making their actions worth watching. This means that they should pay attention to such elements as action, choice, plot, character, mimesis, and the sacredness of performance space. All of these are covered in the book. Audiences practice the art of paying attention to the actions before them. To do that they need to know how to find events worth watching. A good audience is emotionally engaged through one of the many forms of empathy that are distinguished in this book, one of which leads to human wisdom. Plato's ancient attack on theater is right in that theater cannot teach us transcendent truths, but theater does each us about ourselves.

Everyday aesthetic experiences and concerns occupy a large part of our aesthetic life. However, because of their prevalence and mundane nature, we tend not to pay much attention to them, let alone examine their significance. Western aesthetic theories of the last two centuries also neglect everyday aesthetics because of their almost exclusive emphasis on art. This book aims to correct this neglect by revealing how our everyday aesthetic tastes and judgments can exert a powerful influence on the state of the world and the quality of life. By analyzing a wide range of contemporary examples from our aesthetic interactions with nature, the environment, and everyday objects, as well as precedents in 18th century British aesthetics, 19th century American landscape appreciation, and Japanese culture, this book illustrates the complex nature of seemingly simple and innocuous aesthetic responses. The issues discussed include the inadequacy of art-centered aesthetics, diverse modes of practicing everyday aesthetics, the environmental ramifications of our everyday aesthetic tastes and judgments, green aesthetics, the aesthetic appreciation of the distinctive characteristics of objects and phenomena, responses to various manifestations of transience, and the aesthetic experience of moral values. The discussion of each issue explores the complex nature of everyday aesthetics, as well as the power of the aesthetic, by illuminating its serious moral, political, existential, and environmental implications that are often unrecognized.

This book studies the relationship between function and aesthetic value, breaking with the philosophical tradition of seeing the two as separate. It begins by developing and defending, in a general way, the concept of Functional Beauty, exploring how the role of function in aesthetic appreciation has been treated by some notable thinkers in the history of aesthetics. It then considers the relationship to Functional Beauty of certain views in current aesthetic thought, especially what is called ‘cognitively rich’ approaches to the aesthetic appreciation of both art and nature. Turning to work on the nature of function in the philosophy of science, it argues that this line of enquiry can help solve certain philosophical problems that have been raised for the idea that knowledge of function plays an important role in aesthetic appreciation. Although philosophical discussions of aesthetic appreciation tend to focus largely and sometimes almost exclusively on artworks, the range of aesthetic appreciation is, of course, much larger. Not simply art, but also nature, architecture, and even more mundane, everyday things — cars, tools, clothing, furniture, and sports — are objects of frequent and enthusiastic aesthetic appreciation. Accordingly, the second half of the book considers the place and importance of Functional Beauty in the aesthetic appreciation of a broad range of different kinds of things. The final chapters explore Functional Beauty in nature and the natural environment, in architecture and the built environment, in everyday artefacts, events, and activities, and finally in art and the artworld. In each case, the book argues that Functional Beauty illuminates our aesthetic experiences and helps to address various theoretical issues raised by these different objects of appreciation.

The artworld is a complicated place. It contains acts of artistic creation, interpretation, evaluation, preservation, misunderstanding, and condemnation. The goal of this book is to turn a critical reflective eye upon various aspects of the artworld, and to articulate some of the problems, principles, and norms implicit in the actual practices of artistic creation, interpretation, evaluation, and commodification. Aesthetic theory is treated as a descriptive, rather than normative, enterprise: one that relates to artworld realities as a semantic theory relates to the fragments of natural language it seeks to describe. Sustained efforts are made to illuminate emotional expression, correct interpretation, and objectivity in the context of artworld practice; the relevance of jazz to aesthetic theory; the goals of ontology (artworld and otherwise); the relation(s) between art and language; and the relation(s) between artistic/critical practice and aesthetic theory.

This book takes as its starting point Max Weber's contention that contemporary Western culture is marked by a ‘disenchantment of the world’ — the loss of spiritual value in the wake of religion's decline and the triumph of the physical and biological sciences. Relating themes in Hegel, Nietzsche, Schleiermacher, Schopenhauer, and Gadamer to topics in contemporary philosophy of the arts, it explores the idea that Art, now freed from its previous service to religion, has the potential to re-enchant the world. The book develops an argument that draws on the strengths of both ‘analytical’ and ‘continental’ traditions of philosophical reflection. The opening chapter examines ways in which human lives can be made meaningful, and the second chapter critically assesses debates about secularization and secularism. Subsequent chapters are devoted to painting, literature, music, architecture, and festivals. The book concludes that only religion properly so called can ‘enchant the world’, and that modern art's ambition to do so fails.

The book contains a selection of essays on aesthetics, some of which have been revised or added to. A number of the essays are aimed at the abstract heart of aesthetics, attempting to solve a cluster of the most important issues in aesthetics which are not specific to particular art forms. These include the nature and proper scope of the aesthetic, the intersubjective validity of aesthetic judgements, the correct understanding of aesthetic judgements expressed through metaphors, aesthetic realism versus anti-realism, the character of aesthetic pleasure and aesthetic value, the aim of art, and the artistic expression of emotion. Others are focussed on central issues in the aesthetics of particular art forms: two engage with the most fundamental issue in the aesthetics of music, the question of the correct conception of the phenomenology of the experience of listening to music with understanding; and two consider the nature of pictorial representation, one examining the well-known views of Ernst Gombich, Richard Wollheim, and Kendall Walton, the other articulating an alternative conception of seeing a picture as a depiction of a certain state of affairs. The final essay in the book is a comprehensive reconstruction and critical examination of Wittgenstein's aesthetics, both early and late.

Do we ‘perceive’ time? In what sense does memory give us access to the past? Can photographs and paintings capture more than a single moment? What is ‘fictional time’? These apparently disparate questions all concern the ways in which we represent aspects of time, in thought, experience, art, and fiction. They also raise fundamental problems for our philosophical understanding, both of mental representation, and of the nature of time itself. This book brings together issues in philosophy, psychology, aesthetics, and literary theory in examining the mechanisms underlying our representation of time in various media, and brings these to bear on metaphysical debates over the real nature of time. These debates concern questions over which aspects of time are genuinely part of time's intrinsic nature, and which, in some sense, are mind-dependent. Arguably, the most important debate concerns time's passage: does time pass in reality, or is the division of events into past, present and future simply a reflection of our temporal perspective — a result of the interaction between a ‘static’ world and minds capable of representing it? It is argued that contrary to what perception and memory lead us to suppose, time does not really pass, and this surprising conclusion can be reconciled with the characteristic features of temporal experience. The book goes on to consider the representation of time in art and fiction, and draws on the metaphysical and psychological themes previously discussed to cast light on the nature of depiction and fictional narrative.

To mark its centenary in 2002, the British Academy invited leading universities around the UK to host public lectures on the current state of and future prospects for a cross section of the disciplines that fall within the Academy's compass. The Academy proposed the discipline and the universities nominated their preferred speakers. Those selected were drawn from Britain, Europe and the USA, and they rose magnificently to the challenge, while interpreting it in a way specific to their discipline. The eight chapters (plus four commentaries) span the disciplines in the humanities and the social sciences, from the history of art to international relations and geography. These are reflections on the stability and instability of the ways in which we organize knowledge and on how far the academic community can and should be involved in the shaping of public policy.

This volume represents the first part of a study of the concept and the symbol of the cross in Christian theology and imagination. It examines the theology of the cross in both its conceptual and aesthetic mediations within specific historical contexts, from the early church to the eve of the renaissance. Each chapter is introduced by a discussion of an artwork — a representation of Christ’s crucifixion — that exemplifies the focus of the chapter. There follows an exposition of a theological paradigm for the interpretation of the Christ’s passion as a salvific event, i.e., a particular Christian soteriology, as seen in the works of classic theologians. These theological ideas are compared and contrasted with aesthetic works that were contemporaneous with the theological classics or that illustrate a parallel theological attitude. The general method is one of correlation between two kinds of interpretation of the Christian tradition and of human experience: between theology as explicit systematic thought and as affective and communicative images. Within the aesthetic realm, this volume emphasizes visual art (various styles of cross and crucifix) and Christian poetry, both liturgical and non-liturgical.