This book is about an alternative mode of reading, thinking, and representing the intricacies of human experience in Chinase literature of the late twentieth century, which the author calls the aesthetics of the "beyond." It investigates how contemporary Chinese writers, by means of dynamic interface of literary practice and cultural philosophical considerations, engage the reader in critical reflection on and aesthetic appreciation of the complexity of human conditions. By studying the "beyond" in its various manifestations: the semiotics of human embodiment, the discourse of the phantasm, the politics of nostalgia with regard to "origin" and "center," and the metaphysics of death in the writings of some major contemporary Chinese writers, the book explores the ways in which the "beyond" is constructed as a new paradigm of critical thinking in literary, aesthetic, and philophical terms, in which its discursive strategies, structural features, and aesthetic possibilities are presented, and in which varied literary tropes are used in an attempt to unravel human experience in all its aspects. Jianguo Chen is a Professor of Chinese literature at the University of Delaware.

Claims authorial intention, art history, and morality play a role in our encounter with art works.

Natural Beauty was selected for the Choice Outstanding Academic Title list for 2008! Natural Beauty presents a bold new philosophical account of the principles involved in making aesthetic judgments about natural objects. It surveys historical and modern accounts of natural beauty and weaves elements derived from those accounts into a “syncretic theory” that centers on key features of aesthetic experience—specifically, features that sustain and reward attention. In this way, Moore’s theory sets itself apart from both the purely cognitive and the purely emotive approaches that have dominated natural aesthetics until now. Natural Beauty shows why aesthetic appreciation of works of art and aesthetic appreciation of nature can be mutually reinforcing; that is, how they are cooperative rather than rival enterprises. Moore also makes a compelling case for how and why the experience of natural beauty can contribute to the larger project of living a good life.

Taking the view that aesthetics is a study grounded in perception, the essays in this volume exhibit many sides of the perceptual complex that is the aesthetic field and develop them in different ways. They reinvigorate our understanding of such arts as music and architecture; they range across the natural landscape to the urban one; they reassess the place of beauty in the modern environment and reassess the significance of the contributions to aesthetic theory of Kant and Dewey; and they broach the kinds of meanings and larger understanding that aesthetic engagement with the human environment can offer. Written over the past decade, these original and innovative essays lead to a fresh encounter with the possibilities of aesthetic experience, one which has constantly evolved, moving in recent years in the direction of what Berleant terms 'social aesthetics', which enhances human-environmental integration and sociality.

While Alfred North Whitehead did not dedicate any books or articles to aesthetics specifically, aesthetic motifs permeate his entire philosophical opus. Despite this, aestheticians have devoted little attention to Whitehead; most attempts to reconstruct Whitehead’s aesthetics have come from process philosophers, and even in that context aesthetics has never occupied a central position. In this book, four scholars of aesthetics provide another angle from which Whiteheadian aesthetics might be reconstructed. Paying special attention to the notion of aesthetic experience, the authors analyze abstraction versus concreteness, immediacy vs. mediation, and aesthetic contextualism vs. aesthetic isolationism. For their interpretation of Whiteheadian aesthetics, the concepts of creativity and rhythm are crucial. Using these concepts, the book interprets the motif of the processes by which experience is harmonized, the sensation of the quality of the whole, and directedness towards novelty. The first chapter introduces Whitehead’s philosophical method of descriptive generalization. This method assumes that every philosophical system is based on a particular entry point. We show that for Whitehead this entry point was aesthetics. Chapter Two compares Whitehead and Dewey’s philosophies to show that both viewed aesthetic experience in terms of complex rhythms; this helps us better understand the differences and the continuities between everyday experience and art. Chapter Three compares Whitehead’s ideas with those of Henri Bergson, showing the way art reveals the form of immediate experience and how the aesthetic experience of art relates to truth. The final chapter details the processes that constitute aesthetic experience in a narrower sense, analyzing aesthetic experience from the perspective of the types of abstractive processes it involves and the complex types of experience it produces.

This book focuses on externalist approaches to art. It is the first fruit of a workshop held in Milan in September 2009, where leading scholars in the emerging field of psychology of art compared their different approaches using a neutral language and discussing freely their goals. The event threw up common grounds for future research activities. First, there is a considerable interest in using cognitive and neural inspired techniques to help art historians, museum curators, art archiving, art preservation. Secondly, cognitive scientists and neuroscientists are rather open to using art as a special way of accessing the structures of the mind. Third, there are artists who explicitly draw inspiration out of current research on various aspects of the mind. Fourth, during the workshop, a converging methodological paradigm emerged around which more specific efforts could be encouraged.

The project of naturalizing human consciousness/experience has made great technical strides (e.g., in mapping areas of brain activity), but has been hampered in many cases by its uncritical reliance on a dualistic “Cartesian” paradigm (though as some of the authors in the collection point out, assumptions drawn from Plato and from Kant also play a role). The present volume proposes a version of naturalism in aesthetics drawn from American pragmatism (above all from Dewey, but also from James and Peirce)—one primed from the start to see human beings not only as embodied, but as inseparable from the environment they interact with—and provides a forum for authors from diverse disciplines to address specific scientific and philosophical issues within the anti-dualistic framework considering aesthetic experience as a process of embodied meaning-making. Cross-disciplinary contributions come from leading researchers including Mark Johnson, Jim Garrison, Daniel D. Hutto, John T. Haworth, Luca F. Ticini, Beatriz Calvo-Merino. The volume covers pragmatist aesthetics, neuroaesthetics, enactive cognitive science, literary studies, psychology of aesthetics, art and design, sociology.