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Most people today encounter ancient Greek vases as static, untouchable artifacts safely out of reach behind glass, in the quiet of a museum gallery. Once, however, these vessels were also useful objects, made to be held, filled, and generally used in a variety of settings, from the ritual to the quotidian. This volume considers these ancient vases together with the theoretical frameworks developed by pioneers of phenomenology such as Maurice Merleau-Ponty and Edmund Husserl, helping us encounter Greek vases as they once were. The principles of phenomenology require that we understand objects as active participants in shaping the manner in which humans experience the world. A phenomenological perspective allows us to see how the function and use of Greek vases shaped both their visual appearance and the perceptual experience of them—as well as our continued understanding of them today—while taking into account multisensory perspectives. With this alternative approach to the study of classical pottery, the authors offer new and illuminating insights not just into the objects in question but also into ancient Greek culture and life more broadly.

Phenomenology in Psychology and Psychiatry is a historical introduction to phenomenology in psychology working from the general to the details of the subject.  

From Kant to Kierkegaard, from Hegel to Heidegger, continental philosophers have indelibly shaped the trajectory of Western thought since the eighteenth century. Although much has been written about these monumental thinkers, students and scholars lack a definitive guide to the entire scope of the continental tradition. The most comprehensive reference work to date, this eight-volume History of Continental Philosophy will both encapsulate the subject and reorient our understanding of it. Beginning with an overview of Kant’s philosophy and its initial reception, the History traces the evolution of continental philosophy through major figures as well as movements such as existentialism, phenomenology, hermeneutics, and poststructuralism. The final volume outlines the current state of the field, bringing the work of both historical and modern thinkers to bear on such contemporary topics as feminism, globalization, and the environment. Throughout, the volumes examine important philosophical figures and developments in their historical, political, and cultural contexts.

The first reference of its kind, A History of Continental Philosophy has been written and edited by internationally recognized experts with a commitment to explaining complex thinkers, texts, and movements in rigorous yet jargon-free essays suitable for both undergraduates and seasoned specialists. These volumes also elucidate ongoing debates about the nature of continental and analytic philosophy, surveying the distinctive, sometimes overlapping characteristics and approaches of each tradition. Featuring helpful overviews of major topics and plotting road maps to their underlying contexts, A History of Continental Philosophy is destined to be the resource of first and last resort for students and scholars alike.

Pompadour's Medium reveals the depth of patron, amateur artist, and royal mistress Madame de Pompadour's contributions to the visual arts, long dismissed as superficial and trivial. Her artistic activities centered on an innovative exploration of the relationships between painting, sculpture, and the decorative arts at a moment when advances in reproductive printmaking threatened to flatten the differences between individual mediums. Eighteenth-century France experienced an unprecedented surge in the circulation of images. Increasingly faithful and affordable reproductive prints introduced works of art to ever-widening audiences, while a culture of reproduction was simultaneously thriving at the highest end of the artistic and economic spectrum—in luxury media, such as ceramics, textiles, and metalwork. This book recovers the pivotal role of luxury reproduction in Pompadour’s artistic endeavors, and her essential role in cultivating the intermedial approach of her frequent collaborator, painter François Boucher, who tended to think between media. It is only by restoring the centrality of reproductive media in this artist-patron relationship that we can understand the magnitude of Pompadour’s and Boucher’s contributions to the history of modern art.

How Pop artists confronted the legacies of modern Empire of Japan and post-1945 American imperialism from the 1960s to the present.

Looking at a pivotal period spanning the 1960s to the present, Hiroko Ikegami explores how artists in Japan, Okinawa, and the United States have adopted Pop strategies to critique legacies of imperialism. 

Ikegami focuses on locales—Tokyo, Okinawa, Minidoka, and New York—that were deeply impacted by the complex relationship between the Japanese and American empires and considers artists across different situations and generations. The book begins with Tokyo Pop artists and graphic designers, including Shinohara Ushio and Tanaami Keiichi, who critically parodied American Pop during the long 1960s. It then turns to Okinawa, where Tom Max probed Okinawans’ convoluted reality regarding the American Occupation and the Vietnam War. Artists in the second half of the volume confronted legacies of the Asia-Pacific War as a historical condition of the present. Roger Shimomura, the third-generation Japanese American who had been incarcerated in the Minidoka camp as a child, dealt with the subject by appropriating motifs of ukiyo-e woodblock prints. Takashi Murakami, now a global art star, created otaku-inspired art and capitalized on his country’s experience of the atomic bombs in promoting his “Superflat” enterprise. The book concludes with a new generation of artists protesting repercussions of empire in the twenty-first century. This is the first study to treat artists of post-1945 Japan, Okinawa, and the US diaspora in a single volume as mutually independent yet interrelated, using Pop’s criticality as a connecting thread.