“Exuberant, astute, and splendidly illustrated history of world art . . . draws fascinating parallels between artistic developments in Western and non-Western art.”—Publishers Weekly In this beautifully written story of art, Julian Bell tells a vivid and compelling history of human artistic achievements, from prehistoric stone carvings to the latest video installations. Bell, himself a painter, uses a variety of objects to reveal how art is a product of our shared experience and how, like a mirror, it can reflect the human condition. With hundreds of illustrations and a uniquely global perspective, Bell juxtaposes examples that challenge and enlighten the reader: dancing bronze figures from southern India, Romanesque sculptures, Baroque ceilings, and jewel-like Persian manuscripts are discussed side by side. With an insider’s knowledge and an unerring touch, Bell weaves these diverse strands into an invaluable introduction to the wider history of world art.

Christopher Peacocke presents a new theory of subjects of consciousness, together with a theory of the nature of first person representation. He identifies three sorts of self-consciousness—perspectival, reflective, and interpersonal—and argues that they are key to explaining features of our knowledge, social relations, and emotional lives.

An authoritative and comprehensive edition of the first known English translation of the first atlas of the world.

It all starts, as these things sometimes do, with a dead man. He was a neighbour, not someone Abby knew well, but still, finding a body when you only came over to borrow a tin of tomatoes, that comes as a bit of a shock. At least, it should. And now she can't shake the feeling that if she hadn't gone into Simon's flat, if she'd had her normal Wednesday night instead, then none of what happened next would have happened. And she would never have met Melody Black . . . Wild and witty, searing and true, THE MIRROR WORLD OF MELODY BLACK is about the fine line that separates normal from not - and how life can spin, very swiftly, out of control.

Christopher Peacocke presents a philosophical theory of subjects of consciousness, together with a theory of the nature of first person representation of such a subject of consciousness. He develops a new treatment of subjects, distinct from previous theories, under which subjects were regarded either as constructs from mental events, or fundamentally embodied, or Cartesian egos. In contrast, his theory of the first person integrates with the positive treatment of subjects—and it contributes to the explanation of various distinctive first person phenomena in the theory of thought and knowledge. These are issues on which contributions have been made by some of the greatest philosophers, and Peacocke brings his points to bear on the contributions to these issues made by Hume, Kant, Frege, Wittgenstein, and Strawson. He also relates his position to the recent literature in the philosophy of mind, and then goes on to distinguish and characterize three varieties of self-consciousness. Perspectival self-consciousness involves the subject's capacity to appreciate that she is of the same kind as things given in a third personal way, and attributes the subject to a certain kind of objective thought about herself. Reflective self-consciousness involves awareness of the subject's own mental states, reached in a distinctive way. Interpersonal self-consciousness is awareness that one features, as a subject, in some other person's mental states. These varieties, and the relations and the forms of co-operation between them, are important in explaining features of our knowledge, our social relations, and our emotional lives. The theses of The Mirror of the World are of importance not only for philosophy, but also for psychology, the arts, and anywhere else that the self and self-representation loom large. The Context and Content series is a forum for outstanding original research at the intersection of philosophy, linguistics, and cognitive science. The general editor is François Recanati (Institut Jean-Nicod, Paris).