Philosophy in Cultural Theory boldly crosses disciplinary boundaries to offer a philosophical critique of cultural theory today. Drawing on the legacy of Walter Benjamin, Peter Osborne looks critically at central philosophical debates in cultural theory, such as: * the relationship between sign and image * the technological basis of cultural form * the conceptuality of art * the place of fantasy in human affairs. It will appeal to those in philosophy, cultural studies and art theory.

This book focuses on material culture as a subject of philosophical inquiry and promotes the philosophical study of material culture by articulating some of the central and difficult issues raised by this topic and providing innovative solutions to them, most notably an account of improvised action and a non-intentionalist account of function in material culture. Preston argues that material culture essentially involves activities of production and use; she therefore adopts an action-theoretic foundation for a philosophy of material culture. Part 1 illustrates this foundation through a critique, revision, and extension of existing philosophical theories of action. Part 2 investigates a salient feature of material culture itself-its functionality. A basic account of function in material culture is constructed by revising and extending existing theories of biological function to fit the cultural case. Here the adjustments are for the most part necessitated by special features of function in material culture. These two parts of the project are held together by a trio of overarching themes: the relationship between individual and society, the problem of centralized control, and creativity.

A series of transdisciplinary essays offering a critical look at central philosophical debates in cultural theory today.

This collection brings together philosophers, sociologists, musicologists and students of culture who theorize music through cultural practices as diverse as opera and classical music, jazz and pop, avant-garde and DIY musical cultures, music festivals and isolated listening through the iPod, rock in urban heritage and the piano in East Asia.

The philosophy of "presence" seeks to challenge current understandings of meaning and understanding. One can trace its origins back to Vico, Dilthey, and Heidegger, though its more immediate exponents include Jean-Luc Nancy, Hans Ulrich Gumbrecht, and such contemporary philosophers of history as Frank Ankersmit and Eelco Runia. The theoretical paradigm of presence conveys how the past is literally with us in the present in significant and material ways: Things we cannot touch nonetheless touch us. This makes presence a post-linguistic or post-discursive theory that challenges current understandings of "meaning" and "interpretation." Presence provides an overview of the concept and surveys both its weaknesses and its possible uses. In this book, Ethan Kleinberg and Ranjan Ghosh bring together an interdisciplinary group of contributors to explore the possibilities and limitations of presence from a variety of perspectives—history, sociology, literature, cultural theory, media studies, photography, memory, and political theory. The book features critical engagements with the presence paradigm within intellectual history, literary criticism, and the philosophy of history. In three original case studies, presence illuminates the relationships among photography, the past, memory, and the Other. What these diverse but overlapping essays have in common is a shared commitment to investigate the attempt to reconnect meaning with something "real" and to push the paradigm of presence beyond its current uses. The volume is thus an important intervention in the most fundamental debates within the humanities today. Contributors: Bill Ashcroft, University of New South Wales; Mark Bevir, University of California, Berkeley; Susan A. Crane, University of Arizona; Ranjan Ghosh, University of North Bengal; Suman Gupta, Open University Ethan Kleinberg, Wesleyan University; John Michael, University of Rochester; Vincent P. Pecora, University of Utah; Roger I. Simon.

Bernard Stiegler's work on the intimate relations between the human and the technical have made him one of the most important voices to have emerged in French philosophy in the last decade. At the same time both an accessible summation of that work and a continuation of it, The Re-Enchantment of the World advances a critique of consumer capitalism that draws on Freud and Marx to construct an utterly contemporary analysis of our time. The book explores the cognitive, affective, social and economic effects of the 'proletarianization' of the consumer in late capitalism and the resulting destruction of the consumer's savoir-vivre. Reflecting the collective work of his activist organisation, Ars Industrialis, Stiegler here sets forth an alternative path to that of 'industrial populism', one that appeals to the force of the human spirit. The Re-Enchantment of the World also includes the manifesto of Ars Industrialis and an account of the organisation's 2005 summit in Tunis.

Now in its second edition, Cultural Theory: The Key Concepts is an up-to-date and comprehensive survey of over 350 of the key terms central to cultural theory today. This second edition includes new entries on: colonialism cybercultur globalisation terrorism visual studies. Providing clear and succinct introductions to a wide range of subjects, from feminism to postmodernism, Cultural Theory: The Key Concepts continues to be an essential resource for students of literature, sociology, philosophy and media and anyone wrestling with contemporary cultural theory.