Merleau-Ponty says in his Institution and Passivity lectures that he wants to "consider criticism itself as a symbolic form" instead of doing "a philosophy of symbolic form." This invites the possibility of an unconventional thought: If critical philosophy is a symbolic form, it cannot disclose its own limits and is, in fact, uncritical. Furthermore, the symbolic form can never itself be thought according to the terms of the criticism it produces but is always only constellated and matrixed within them—a symbolic form within both reflection and what it reflects on, within consciousness and the world. Thus, as Rajiv Kaushik argues, the symbolic form is another name for what Merleau-Ponty calls ontological divergence. Only now divergence introduces the question of a limit to both the subject and philosophy itself. This is nothing less than a psychoanalysis of philosophy. Kaushik's analyses of the matrices between space—imagination, light—dark, awake—asleep, and repression—expression reveal this symbolism in its form of divergence, its lack of origin and destination. Kaushik also argues that the phenomenology of symbolism must detour from the purely descriptive method. Drawing from Merleau-Ponty's recently published course materials, and attentive to his reliance on literature and literary language, Merleau-Ponty between Philosophy and Symbolism continues the living force of Merleau-Ponty's thought and develops his radical insight of the primacy of the symbolic form, even in an ontology that claims to be about the sensible and its elements.

Introduction to Art: Design, Context, and Meaning offers a deep insight and comprehension of the world of Art. Contents: What is Art? The Structure of Art Significance of Materials Used in Art Describing Art - Formal Analysis, Types, and Styles of Art Meaning in Art - Socio-Cultural Contexts, Symbolism, and Iconography Connecting Art to Our Lives Form in Architecture Art and Identity Art and Power Art and Ritual Life - Symbolism of Space and Ritual Objects, Mortality, and Immortality Art and Ethics

The biological and neurological capacity to symbolize, and the products of behavioral, cognitive, sociocultural, linguistic, and technological uses of symbols (symbolism), are fundamental to every aspect of human life. The Oxford Handbook of Human Symbolic Evolution explores the origins of our characteristically human abilities - our ability to speak, create images, play music, and read and write. The book investigates how symbolization evolved in human evolution and how symbolism is expressed across the various areas of human life. The field is intrinsically interdisciplinary - considering findings from fossil studies, scientific research from primatology, developmental psychology, and of course linguistics. Written by world leading experts, thirty-eight topical chapters are grouped into six thematic parts that respectively focus on epistemological, psychological, anthropological, ethological, linguistic, and social-technological aspects of human symbolic evolution. The handbook presents an in-depth but comprehensive and interdisciplinary overview of the of the state of the art in the science of human symbolic evolution. This work will be of interest to academics and students active in all fields contributing to the study of human evolution.

In On Symbolism and Symbolisation: The Work of Freud, Durkheim and Mauss, Éric Smadja returns to the end of the 19th century and explores how the concepts of symbolism and symbolisation have been discussed among theorists, and how this discussion has developed and revolutionised the human sciences as we know them today. Uniquely, he connects three key thinkers of psychoanalysis, sociology and ethnology – Freud, Durkheim and Mauss – and discusses how their diverse epistemological paths blend and have consequently shaped our representation of humanity, society and culture in the 20th and 21st centuries. In this innovative work, Smadja provides a complete biographical journey of these three influential founders, beginning with a dedicated chapter on Freud, followed by Durkheim and then Mauss. He explains each of their revolutionary creations – Freud’s psychoanalysis, Durkheim’s French school of sociology and Mauss’s modern French ethnology – before exploring their ground-breaking, yet differing, conceptions of symbolism and symbolisation, offering a discussion of specific and common aspects detected between these conceptions. In his conclusions, Smadja focusses on France to examine what became of their thoughts after the second half of the 20th century. He inspects the fields of French anthropology, sociology and psychoanalysis: Lévi-Strauss and his structuralist revolution, his colleagues Françoise Héritier and Maurice Godelier, Pierre Bourdieu, who was an ethnologist before becoming a sociologist, and, of course, Lacan. On Symbolism and Symbolisation: The Work of Freud, Durkheim and Mauss is a pioneering work that will appeal to psychoanalysts in practice and in training, and to academics and students of psychology, anthropology, sociology, philosophy and the history of ideas. It will also be of interest to anyone wanting to learn more about the life and work of these three major theorists and the connections between the human and social sciences.

This special anniversary volume of Symbolism explores the nexus between symbolic signification and the future from an interdisciplinary perspective. How, contributors ask, has the future been variously rendered in symbolic terms? How do symbols and symbolic reference shape our ideas of the future? To what extent are symbols constitutive of futures, and to what extent do they restrain communication about what is possible and the imagination of fundamental change? Moreover, how have symbolic practices shaped not only artistic representations of the future, but also scientific attempts at forecasting and modelling it? What, then, is the relevance of symbolism for negotiations of the future in cultural and academic production? In essays ranging from literary and film studies to the philosophy of art and ecological modelling, the volume seeks to lay groundwork in theorizing and historicising ‘symbols of the future’ as much as ‘the future of symbolism’.