'There is no such thing as autobiography, there is only art and lies'. Set in a London of the near future, its three principal characters, Handel, Picasso and Sappho, separately flee the city and find themselves on the same train, drawn to one another through the curious agency of a book. Stories within stories take us through the unlikely love-affairs of one Doll Sneerpiece, an 18th century bawd, and into the world of painful beauty where language has the power to heal. Art & Lies is a question and a quest: How shall I live?
'There is no such thing as autobiography, there is only art and lies'. Set in a London of the near future, its three principal characters, Handel, Picasso and Sappho, separately flee the city and find themselves on the same train, drawn to one another through the curious agency of a book. Stories within stories take us through the unlikely love affairs of one Doll Sneerpiece, an 18th century bawd, and into the world of painful beauty where language has the power to heal. Art & Lies is a question and a quest: How shall I live?
This book is an accessible look at key moments in the history of performance art. Featuring pieces by leading practitioners in the field, the art of performance is considered through objects, photography, reconstructions, film and video. Accompanies the exhibition at Tate Liverpool, Winter 2003/4.
According to the Swiss theologian Hans Urs von Balthasar, a world that has lost sight of beauty is a world riddled with skepticism, moral and aesthetic relativism, conflicting religious worldviews, and escalating ecological crises. In The Eclipse and Recovery of Beauty, John D. Dadosky uses Kierkegaard and Nietzsche’s negative aesthetics to outline the context of that loss, and presents an argument for reclaiming beauty as a metaphysical property of being. Inspired by Bernard Lonergan’s philosophy of consciousness, Dadosky presents a philosophy of beauty that is grounded in contemporary Thomistic thought. Responding to Balthasar, he argues for a concept of beauty that can be experienced, understood, judged, created, contemplated, and even loved. Deeply engaged with the work of Aquinas, Kierkegaard, Nietzsche, and Kant, among others, The Eclipse and Recovery of Beauty will be essential reading for those interested in contemporary philosophy and theology.
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This book shows how language can be used strategically to manipulate beliefs.From Machiavelli to P. T. Barnum to Donald Trump, many have perfected the art of strategically using language to gain the upper hand, set a tone, change the subject, or influence people's beliefs and behaviors. Language--both words themselves and rhetorical tactics such as metaphor, irony, slang, and humor--can effectively manipulate the minds of the listener. In this book, Marcel Danesi, a renowned linguistic anthropologist and semiotician, looks at language that is used not to present arguments logically or rationally, but to "move" audiences in order to gain their confidence and build consensus. He demonstrates that through language techniques communicators can not only sway opinions but also shape listeners' very perception of reality. He assesses how the communicative environment in which the art of the lie unfolds--such as on social media or in emotionally-charged gatherings--impacts the results.Danesi also investigates why lies are often accepted as valid. Artful lying fits in with an Internet society that is largely disinterested in what is true and what is false and in which attention is often given to speech that is entertaining or persuasive. Have we become immune to lies because of a social media discourse shaped by untruths? In an electronic age where facts are deemed irrelevant and conspiracies are accorded as much credibility as truths, this book discusses the implications of lying and language for the future of belief, ethics, and American democracy itself.
People of all times and in all cultures have produced and consumed fiction in a variety of forms, not only for entertainment, but also to spread knowledge, religious or political beliefs. Furthermore, fiction has taken part in reflecting and shaping the cultural identity of communities as well as the identity of individuals. This volume aims to explore the concept and the use of fiction from different epochs, in different cultures and in different forms, both ancient and more recent. It covers a broad field of interests, from ancient literature, art, philosophy and theater to Bollywood productions, television series and modern electronic media. Twenty-three scholars from ten countries and from different areasand fields of interests in the Humanities assembled in Stockholm on a conference in August 2012 to exchange views on "Fiction in Global Contexts". This volume presents the results of their discussions. It contains fresh perspectives on issues and topics such as: the nature of fiction fiction and its relationship to "truth" the demand for and the function and uses of fiction the development of fiction from ancient to modern times different forms of fiction fiction in social contexts or in a gender perspective
All autobiographers are unreliable narrators. Yet what a writer chooses to misrepresent is as telling -- perhaps even more so -- as what really happened. Timothy Adams believes that autobiography is an attempt to reconcile one's life with one's self, and he argues in this book that autobiography should not be taken as historically accurate but as metaphorically authentic. Adams focuses on five modern American writers whose autobiographies are particularly complex because of apparent lies that permeate them. In examining their stories, Adams shows that lying in autobiography, especially literary autobiography, is not simply inevitable. Rather it is often a deliberate, highly strategic decision on the author's part. Throughout his analysis, Adams's standard is not literal accuracy but personal authenticity. He attempts to resolve some of the paradoxes of recent autobiographical theory by looking at the classic question of design and truth in autobiography from the underside -- with a focus on lying rather than truth. Originally published in 1990. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.
Many individuals agree that art is important even if they don't know what it is. Most agree that art matters and has value but are unable to provide a reasoned argument in its favour. Kieran considers the problems faced by ordinary folk when confronted by vexing question on art's value and place in society.
He tells of architecture, calligraphy, woodworking, and earthenware, but lays particular emphasis on the brilliant, underglaze-painted ceramics of Kutahya and the rich, piled carpets for which Turkey has been famed for centuries. While searching for the traits that define art and the stylistic complexities that characterize Turkish creativity, Glassie focuses on the artists and their theories and practices as well as the works they produce.
Provides a wide depiction of Islamic doctrines, practices, and worldviews. Some 50 articles by scholars that are also practicing Muslims representing a diverse range of places, traditions, cultures, and beliefs are presented in volumes that individually address the grand traditions and beliefs of the religion; the spiritual experience of Islam; everyday experiences of family, home, and society; Islamic cultures' art, aesthetics, and science; and Muslim progressives, modernists, and other reformers.
"The Sacred Art of Soul Making" offers an authentic and substantive spirituality for our time, one that leads the reader toward understanding the structure of the soul and its development through meditation, prayer, presence, and other practices. This book addresses the important questions of soul and spirit with the depth and subtlety they require and with the clarity they call for. Joseph Naft presents an integrated spiritual path that begins where we are and ultimately takes us beyond consciousness, toward the abode of the sacred. That sacredness can touch and transform each of us, if we make the necessary, devoted effort. And "The Sacred Art of Soul Making" shows the way toward that potential.
A provocative and unsettling look at the nature of love and deception Is it possible to love well without lying? At least since Socrates's discourse on love in Plato's Symposium, philosophers have argued that love can lead us to the truth—about ourselves and the ones we love. But in the practical experience of erotic love—and perhaps especially in marriage—we find that love and lies often work hand in hand, and that it may be difficult to sustain long-term romantic love without deception, both of oneself and of others. Drawing on contemporary philosophy, psychoanalysis and cognitive neuroscience, his own personal experience, and such famed and diverse writers on love as Shakespeare, Stendhal, Proust, Adrienne Rich, and Raymond Carver, Clancy Martin—himself divorced twice and married three times—explores how love, truthfulness, and deception work together in contemporary life and society. He concludes that learning how to love and loving well inevitably requires lying, but also argues that the best love relationships draw us slowly and with difficulty toward honesty and trust. Love and Lies is a relentlessly honest book about the difficulty of love, which is certain to both provoke and entertain.
This anthology has been significantly expanded for this edition to include a wider range of contemporary issues. The most important addition is a new section on multicultural theory, including important and controversial selections ranging from discussions of art in other cultures to discussions of the appropriation of nonWestern art in Western cultures. The material from Kant's Critique of Judgment has been expanded to include his writing on aesthetical ideas and the sublime. The selections from Derrida have been updated and considerably expanded for this edition, primarily from The Truth in Painting. One of Derrida's most interesting provocations has also been added, his letter to Peter Eisenman on architecture. In addition, the section on feminist theory now includes a chapter from Irigaray's Speculum of the Other Woman. The anthology includes the most important writings on the theory of art in the Western tradition, including selections from Plato, Aristotle, Hume, Kant, Hegel, and Nietzsche; the most important philosophical writings of the last hundred years on the theory of art, including selections from Collingwood, Langer, Goodman, Heidegger, and Merleau-Ponty; contemporary Continental writings on art and interpretation, including selections from Gadamer, Ricoeur, Derrida, Lyotard, and Foucault; also writings on the psychology of art by Freud and Jung, from the Frankfurt School by Benjamin, Adorno, and Marcuse, in feminist theory, multiculturalism, and postmodernism. The anthology also includes twentieth-century writings by artists including discussions of futurism, suprematism, and conceptual art.
For three decades, no American filmmaker has been as prolific -- or as paradoxical -- as Woody Allen. From Play It Again, Sam (1972) through Celebrity (1998) and Sweet and Lowdown (1999), Allen has produced an average of one film a year, yet in many of these films Allen reveals a progressively skeptical attitude toward both the value of art and the cultural contributions of artists. In examining Allen's filmmaking career, The Reluctant Film Art of Woody Allen demonstrates that his movies often question whether the projected illusions of magicians/artists benefit audience or artists. Other Allen films dramatize the opposed conviction that the consoling, life-redeeming illusions of art are the best solution humanity has devised to the existential dilemma of being a death-foreseeing animal. Peter Bailey demonstrates how Allen's films repeatedly revisit and reconfigure this tension between image and reality, art and life, fabrication and factuality, with each film reaching provisional resolutions that a subsequent movie will revise. Merging criticism and biography, Bailey identifies Allen's ambivalent views of the artistic enterprise as a key to understanding his entire filmmaking career. Because of its focus upon filmmaker Sandy Bates's conflict between entertaining audiences and confronting them with bleak human actualities, Stardust Memories is a central focus of the book. Bailey's examination of Allen's art/life dialectic also draws from the off screen drama of Allen's very public separation from Mia Farrow, and the book accordingly construes such post-scandal films as Bullets Over Broadway and Mighty Aphrodite as Allen's oblique cinematic responses to that tabloid tempest. By illuminating the thematic conflict at the heart of Allen's work, Bailey seeks not only to clarify the aesthetic designs of individual Allen films but to demonstrate how his oeuvre enacts an ongoing debate the screenwriter/director has been conducting with himself between creating cinematic narratives affirming the saving powers of the human imagination and making films acknowledging the irresolvably dark truths of the human condition.
Although there are various `religious' traces in Heidegger's philosophy, little effort has been made to show the systematic import which his thinking has for outlining a full range of religious and theological questions. Precisely because his thought is opposed to the construction of any `dogma', his vast writings provide clues to what meaning(s) the `Sacred' and the `Divine' may have in a postmodern age where the very possibility of `faith' hangs in the balance. By showing how Heidegger's own thinking can be interpreted as a struggle to come to terms with religious questions, this book undertakes a postmodern investigation of the Sacred which both draws upon and transcends various world-religions and denominations. A postmodern, non-sectarian vision of the Sacred thereby becomes possible which is open to the plurality of religious experiences on the one hand, and yet affirms on the other Heidegger's emphasis (in Beiträge zur Philosophie) on the `last god' as the displacing of all sectarian visions of god. This book will have special appeal to Heidegger scholars, as well as students interested in the overlap between phenomenology and philosophical theology.