In her remarkable book, Sondra Horton Fraleigh examines and describes dance through her consciousness of dance as an art, through the experience of dancing, and through the existential and phenomenological literature on the lived body. She describes, with performance photographs, specific imagery in dance masterworks by Doris Humphrey, Anna Sokolow, Viola Farber, Nina Weiner, and Garth Fagan.

Around the turn of the nineteenth century, no task seemed more urgent to German Romantics than the creation of a new mythology. It would unite modern poets and grant them common ground, and bring philosophers and the Volk closer together. But what would a new mythology look like? Only one model sufficed, according to Friedrich Schlegel: Dante’s Divine Comedy. Through reading and juxtaposing canonical and obscure texts, Dante in Deutschland shows how Dante’s work shaped the development of German Romanticism; it argues, all the while, that the weight of Dante’s influence induced a Romantic preoccupation with authority: Who was authorized to create a mythology? This question—traced across texts by Schelling, Novalis, and Goethe—begets a Neo-Romantic fixation with Dantean authority in the mythic ventures of Gerhart Hauptmann, Rudolf Borchardt, and Stefan George. Only in Thomas Mann’s novels, DiMassa asserts, is the Romantics’ Dantean project ultimately demythologized.

The Decision Between Us combines an inventive reading of Jean-Luc Nancy with queer theoretical concerns to argue that while scenes of intimacy are spaces of sharing, they are also spaces of separation. John Paul Ricco shows that this tension informs our efforts to coexist ethically and politically, an experience of sharing and separation that informs any decision. Using this incongruous relation of intimate separation, Ricco goes on to propose that “decision” is as much an aesthetic as it is an ethical construct, and one that is always defined in terms of our relations to loss, absence, departure, and death.
 
Laying out this theory of “unbecoming community” in modern and contemporary art, literature, and philosophy, and calling our attention to such things as blank sheets of paper, images of unmade beds, and the spaces around bodies, The Decision Between Us opens in 1953, when Robert Rauschenberg famously erased a drawing by Willem de Kooning, and Roland Barthes published Writing Degree Zero, then moves to 1980 and the “neutral mourning” of Barthes’ Camera Lucida, and ends in the early 1990s with installations by Felix Gonzalez-Torres. Offering surprising new considerations of these and other seminal works of art and theory by Jean Genet, Marguerite Duras, and Catherine Breillat, The Decision Between Us is a highly original and unusually imaginative exploration of the spaces between us, arousing and evoking an infinite and profound sense of sharing in scenes of passionate, erotic pleasure as well as deep loss and mourning.

We often say that music is ineffable, that it does not refer to anything outside of itself. But if music, in all its sensuous flux, does not mean anything in particular, might it still have a special kind of philosophical significance?
 
In Deep Refrains, Michael Gallope draws together the writings of Arthur Schopenhauer, Friedrich Nietzsche, Ernst Bloch, Theodor Adorno, Vladimir Jankélévitch, Gilles Deleuze, and Félix Guattari in order to revisit the age-old question of music’s ineffability from a modern perspective. For these nineteenth- and twentieth-century European philosophers, music’s ineffability is a complex phenomenon that engenders an intellectually productive sense of perplexity. Through careful examination of their historical contexts and philosophical orientations, close attention to their use of language, and new interpretations of musical compositions that proved influential for their work, Deep Refrains forges the first panoptic view of their writings on music. Gallope concludes that music’s ineffability is neither a conservative phenomenon nor a pious call to silence. Instead, these philosophers ask us to think through the ways in which music’s stunning force might address, in an ethical fashion, intricate philosophical questions specific to the modern world.
 
 

"Combining a rich and varied set of theoretical insights with a subtle analysis of the politics of American foreign policy, Defacing Power marks an important contribution toward understanding the power of identity in world politics. Engagingly written and rigorously argued, Steele's challenging analysis is incisive, important, and rewarding."
---Michael C. Williams, Graduate School of Public and International Affairs, University of Ottawa

"Brent Steele's marvelous excavation of the aesthetic dimensions of power is strikingly irreverent, inasmuch as he displays no commitment to ex ante disciplinary or substantive constraints in his quest to disclose those moments of creative action so often overlooked by theories and theorists wedded to the grandiose and the transhistorical. Steele samples and remixes a myriad of sources, arranging them so as to produce a transgressively insightful account of how 'work on the Self,' often condemned as self-indulgent by prior generations of intellectuals, might just point in the direction of a more sustainably secure world."
---Patrick Thaddeus Jackson, School of International Service, American University

"Defacing Power successfully integrates work from Dewey to Morgenthau to Foucault, as well as a wide range of contemporary international relations scholars, in its genealogy of power conceptualizations and characteristics. This book is theoretically sophisticated and serious. It should be of interest to students of international politics, international theory, social theory, and foreign policy."
---Cecelia Lynch, Center for Global Peace and Conflict Studies, University of California, Irvine

Defacing Power investigates how nation-states create self-images in part through aesthetics and how these images can be manipulated to challenge those states' power. Although states have long employed media, such as radio, television, and film, for their own image-making purposes, counterpower agents have also seized upon new telecommunications technologies. Most recently, the Internet has emerged as contested territory where states and other actors wage a battle of words and images.

Moving beyond theory, Brent Steele illustrates his provocative argument about the vulnerability of power with examples from recent history: the My Lai Massacre and the Tet Offensive, September 11 and the al-Qaeda communiqués, the atrocities at Fallujah and Abu Ghraib, and the U.S. response to the Asian tsunami of December 2004. He demonstrates how a nation-state---even one as powerful as the United States---comes to feel threatened not only by other nation-states or terrorist organizations but also by unexpected events that challenge its self-constructed image of security. At the same time, Steele shows that as each generation uses available media to create and re-create a national identity, technological innovations allow for the shifting, upheaval, and expansion of the cultural structure of a nation.

Brent J. Steele is Associate Professor of Political Science at the University of Kansas.

John Dewey is known as a pragmatic philosopher and progressive architect of American educational reform, but some of his most important contributions came in his thinking about art.
          Dewey argued that there is strong social value to be found in art, and it is artists who often most challenge our preconceived notions. Dewey for Artists shows us how Dewey advocated for an “art of democracy.” Identifying the audience as co-creator of a work of art by virtue of their experience, he made space for public participation. Moreover, he believed that societies only become—and remain—truly democratic if its citizens embrace democracy itself as a creative act, and in this he advocated for the social participation of artists.
          Throughout the book, Mary Jane Jacob draws on the experiences of contemporary artists who have modeled Dewey’s principles within their practices. We see how their work springs from deeply held values. We see, too, how carefully considered curatorial practice can address the manifold ways in which aesthetic experience happens and, thus, enable viewers to find greater meaning and purpose. And it is this potential of art for self and social realization, Jacob helps us understand, that further ensures Dewey’s legacy—and the culture we live in.

In The Difference Aesthetics Makes cultural critic Kandice Chuh asks what the humanities might be and do if organized around what she calls “illiberal humanism” instead of around the Western European tradition of liberal humanism that undergirds the humanities in their received form. Recognizing that the liberal humanities contribute to the reproduction of the subjugation that accompanies liberalism's definition of the human, Chuh argues that instead of defending the humanities, as has been widely called for in recent years, we should radically remake them. Chuh proposes that the work of artists and writers like Lan Samantha Chang, Carrie Mae Weems, Langston Hughes, Leslie Marmon Silko, Allan deSouza, Monique Truong, and others brings to bear ways of being and knowing that delegitimize liberal humanism in favor of more robust, capacious, and worldly senses of the human and the humanities. Chuh presents the aesthetics of illiberal humanism as vital to the creation of sensibilities and worlds capable of making life and lives flourish.

Musing in Florence in June of 1858, Nathaniel Hawthorne said of himself, "I am sensible that a process is going on—and has been, ever since I came to Italy—that puts me in a state to see pictures with less toil, and more pleasure, and makes me more fastidious, yet more sensible of beauty where I saw none before."

This is a book devoted to the reflective analysis of the enterprise in which many of us, like Hawthorne, find ourselves engaged: the cultivation of our taste. Charles Wegener writes for and from the standpoint of thoughtful amateurs, those who, loving the beautiful and the sublime, wish to become more fully the sort of person to whom these goods reliably disclose themselves. Here traditional aesthetic analysis is redirected to a search for the norms that tell us how we use our intelligence, our imagination, and our senses in becoming "more fastidious, yet more sensible," exploring such concepts as disinterestedness, catholicity, communicability, austerity, objectivity, and authority.

Finally, Wegener discusses questions about the relation of our aesthetic lives to other activities, norms, and human goods, arguing that taste, far from being a mere grace or luxury, is a necessary expression of that freedom which is at once the fruit and the condition of all culture.

"This book should be required reading for anyone concerned with aesthetic education, for this is exactly what it is about, and I have come across no more searching investigation of the topic."—Hugo Meynell, Journal of Aesthetic Education

"Using the analysis of aesthetic experience found in Kant's Critique of Judgment as a point of departure, Wegener has written a remarkably intelligent book which presents meaningful encounter with art as the "discipline of taste and feeling. The book reads not simply as an exposition but as a conversation in which the author thoughtfully and meticulously explores with the reader those norms that structure and define aesthetic experience. . . . The book occupies an important place in contemporary aesthetic discussion."—M. Feder-Marcus, Choice

Disfiguring is the first sustained interpretation of the deep but often hidden links among twentieth-century art, architecture, and religion. While many of the greatest modern painters and architects have insisted on the spiritual significance of their work, historians of modern art and architecture have largely avoided questions of religion. Likewise, contemporary philosophers and theologians have, for the most part, ignored visual arts. Taylor presents a carefully structured and subtly nuanced analysis of the religious presuppositions that inform recent artistic theory and practice—and, in doing so, recasts the cultural landscape of our era.