This transdisciplinary project represents the most comprehensive study of imagination to date. The eclectic group of international scholars who comprise Imagination and Art propose bold and innovative theoretical frameworks for (re-) conceptualizing imagination in all of its divergent forms.

Journal of Critical Studies in Language and Literature (JCSLL) is a bimonthly double-blind peer-reviewed "Premier" open access journal that represents an interdisciplinary and critical forum for analysing and discussing the various dimensions in the interplay between language, literature, and translation. It locates at the intersection of disciplines including linguistics, discourse studies, stylistic analysis, linguistic analysis of literature, comparative literature, literary criticism, translation studies, literary translation and related areas. It focuses mainly on the empirically and critically founded research on the role of language, literature, and translation in all social processes and dynamics. Articles submitted to JCSLL should bring together critical theories and concepts and in-depth, empirical, language- and literary-oriented analysis. They have to be problem-oriented and rely on well-informed contemporary as well as historical contextualisation of the analysed texts and contexts. Methodologies can be qualitative, quantitative or mixed, but must in any case be systematic and anchored in relevant linguistic, literary, and translation disciplines.

Samantha Matherne defends a systematic interpretation of the philosopher Immanuel Kant's theory of imagination. To this end, she offers an account of what kind of mental capacity Kant takes imagination to be in general, as well as an account of the way in which we use this capacity in theoretical, aesthetic, and practical contexts. In contrast with more traditional theories of imagination, as a kind of fantasy that we exercise only in relation to objects that are not real or not present, Matherne argues that Kant theorizes imagination as something that we exercise just as much in relation to objects that are real and present. Thus she attributes to Kant a view of imagining as something that pervades our lives. In order to bring out this pervasiveness, Matherne explores Kant's account of how we exercise our imagination in perception, ordinary experience, the appreciation of beauty and sublimity, the production of art, the pursuit of happiness, and the pursuit of morality. However, she also argues that Kant's analysis of this wide range of phenomena is underwritten by a unified theory of what imagination is, as a remarkably flexible cognitive capacity that we can exercise in constrained and creative, playful and serious ways.

Music and dance can change our sense of time. Both rely on synchronizing our attention and actions with sounds and with other people, both involve memory and expectation, and both can give rise to experiences of flow and pleasure. Performing Time explores our experience of time in dance and music, from the perspectives of performers and audiences, and informed by the most recent research in dance science, musicology, neuroscience, and psychology. It includes discussions of tempo and pacing, coordination and synchrony, the performer's experience of time, audiences' temporal expectations, the effect of extreme slowness, and our individual versus collective senses of time. At its core, the book addresses how time and temporality in music and dance relate to current psychological and neuroscientific theories as well as to the aesthetic aims of composers, choreographers and performers. Bringing together new research on rhythm, time and temporality in both music and dance in one volume, the book contains overview chapters on the state of the art from leading researchers on topics ranging from the psychology, neuroscience, and philosophy of musical time to embodied timing in dance. In addition, numerous case studies regarding our temporal experience of music and dance are provided in shorter focus chapters, with their implications for further scientific study and artistic enquiry. Performing Time is an invaluable and comprehensive resource for students, researchers, educators, and artists alike, and for any reader interested in how the performing arts construct and play with time in our minds and bodies. Some chapters in this title are open access and available under the terms of a [CC BY-NC-ND 4.0 International] licence.

"Art and the City" explores the contentious relationship between civic politics and visual culture in Los Angeles. Struggles between civic leaders and modernist artists to define civic identity and control public space highlight the significance of the arts as a site of political contest in the twentieth century.

This volume brings together contributions by philosophers, art historians and artists who discuss, interpret and analyse the moving and gesturing body in the arts. Broadly inspired by phenomenology, and taking into account insights from cognitive science, the contribution of the motor body in watching a film, attending a dance or theatre performance, looking at paintings or drawings, and listening to music is explored from a diversity of perspectives. This volume is intended for both the specialist and non-specialist in the fields of art, philosophy and cognitive science, and testifies to the burgeoning interest for the moving and gesturing body, not only in the creation but also in the perception of works of art. Imagination is tied to our capacity to silently resonate with the way a work of art has been or is created.

A philosophical inquiry into the strengths and weaknesses of theism and naturalism in accounting for the emergence of consciousness, the visual imagination and aesthetic values. The authors begin by offering an account of modern scientific practice which gives a central place to the visual imagination and aesthetic values. They then move to test the explanatory power of naturalism and theism in accounting for consciousness and the very visual imagination and aesthetic values that lie behind and define modern science. Taliaferro and Evans argue that evolutionary biology alone is insufficient to account for consciousness, the visual imagination and aesthetic values. Insofar as naturalism is compelled to go beyond evolutionary biology, it does not fare as well as theism in terms of explanatory power.