We think we know how to appreciate wine—trained connoisseurs take dainty sips in sterile rooms and provide ratings based on objective knowledge and technical expertise. In Epistenology, Nicola Perullo vigorously challenges this approach, arguing that it is the enjoyment of drinking wine as an active and participatory experience that matters. Perullo argues that wine comes to life not in the abstract space of the professional tasting but in the real world of shared experiences; wines can change in these encounters, and drinkers along with them. Just as a winemaker is not simply a producer but a nurturer, a wine is fully known only through an encounter among a group of drinkers in a specific place and time. Wine is not an object to analyze but an experience to make, creatively opening up new perceptual possibilities for settings, cuisines, and companions. The result of more than twenty years of research and practical engagement, Epistenology presents a new paradigm for the enjoyment of wine and through it a philosophy based on participatory and relational knowledge. This model suggests a profound shift—not knowledge about but with wine. Interweaving philosophical arguments with personal reflections and literary examples, this book is a journey with wine that shows how it makes life more creative and free.

We do politics in, through, and as bodies. All our political activity is inevitably corporeal. Parliamentary debates, party assemblies, street demonstrations, and civil disobedience are all bodily actions. Political regimes maintain their power by controlling our bodies, both through explicit acts of violence and, more insidiously, by inculcating somatic norms of obedience to the political authorities and ideologies. This oppression can be effectively challenged if we use somaesthetics to identify and examine the bodily habits and feelings that express and reinforce such domination. Somaesthetically explored, they can be refashioned and help overcome the oppressive social conditions that produce them.

At once ethnographic and phenomenological, Tasting Coffee investigates the global chain of coffee production "from seed to cup," stopping at every stage along the way to describe the tasting practices of each stakeholder purveying coffee. The ethnomethodological care of these descriptions derives from an attunement to just how these stakeholders discover and describe the flavors of coffee and how they convert subjective experience into objective knowledge. The methods and protocols of sensory science are also examined and assessed in their lived details, making this study also a contribution to the sociology of science. Based upon a decade of research in fourteen countries, author Kenneth Liberman provides a nonessentialist ontology of coffee, its history, and its production. The world of coffee becomes a microcosm in which many realities of postmodern humanity are exposed and clarified—with the thoughts of Edmund Husserl, Alfred Schutz, Martin Heidegger, Hans-Georg Gadamer, Emmanuel Levinas, Maurice Merleau-Ponty, Jacques Derrida, Ludwig Wittgenstein, Aron Gurwitsch, and Harold Garfinkel—even as these naturally occurring case studies provide fresh specifications for these thinkers' ideas.

Taste as Experience puts the pleasure of food at the center of human experience. It shows how the sense of taste informs our preferences for and relationship to nature, pushes us toward ethical practices of consumption, and impresses upon us the importance of aesthetics. Eating is often dismissed as a necessary aspect of survival, and our personal enjoyment of food is considered a quirk. Nicola Perullo sees food as the only portion of the world we take in on a daily basis, constituting our first and most significant encounter with the earth. Perullo has long observed people's food practices and has listened to their food experiences. He draws on years of research to explain the complex meanings behind our food choices and the thinking that accompanies our gustatory actions. He also considers our indifference toward food as a force influencing us as much as engagement. For Perullo, taste is value and wisdom. It cannot be reduced to mere chemical or cultural factors but embodies the quality and quantity of our earthly experience.

Over the last few decades, the notion of improvisation has enriched and dynamized research on traditional philosophies of music, theatre, dance, poetry, and even visual art. This Handbook offers readers an authoritative collection of accessible articles on the philosophy of improvisation, synthesizing and explaining various subjects and issues from the growing wave of journal articles and monographs in the field. Its 48 chapters, written specifically for this volume by an international team of scholars, are accessible for students and researchers alike. The volume is organized into four main sections: I Art and Improvisation: Theoretical Perspectives II Art and Improvisation: Aesthetical, Ethical, and Political Perspectives III Improvisation in Musical Practices IV Improvisation in the Visual, Narrative, Dramatic, and Interactive Arts Key Features: Treats improvisation not only as a stylistic feature, but also as an aesthetic property of artworks and performances as well as a core element of artistic creativity. Spells out multiple aspects of the concept of improvisation, emphasizing its relevance in understanding the nature of art. Covers improvisation in a wide spectrum of artistic domains, including unexpected ones such as literature, visual arts, games, and cooking. Addresses key questions, such as: - How can improvisation be defined and what is its role in different art forms? - Can improvisation be perceived as such, and how can it be aesthetically evaluated? - What is the relationship between improvisation and notions such as action, composition, expressivity, and authenticity? - What is the ethical and political significance of improvisation?

This book explores the epistemic side of racial and sexual oppression. It elucidates how social insensitivities and imposed silences prevent members of different groups from listening to each other.

Volume II of Alan Muir's trilogy GOLDEN GIRLS published before 1923. It may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification.