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A well-known feature of great works of art is their power to “live on” long after the moment of their creation – to remain vital and alive long after the culture in which they were born has passed into history. This power to transcend time is common to works as various as the plays of Shakespeare, the Victory of Samothrace, and many works from early cultures such as Egypt and Buddhist India which we often encounter today in major art museums. What is the nature of this power and how does it operate? The Renaissance decided that works of art are timeless, “immortal” – immune from historical change – and this idea has exerted a profound influence on Western thought. But do we still believe it? Does it match our experience of art today which includes so many works from the past that spent long periods in oblivion and have clearly not been immune from historical change? This book examines the seemingly miraculous power of art to transcend time – an issue widely neglected in contemporary aesthetics. Tracing the history of the question from the Renaissance onwards, and discussing thinkers as various as David Hume, Hegel, Marx, Walter Benjamin, Sartre, and Theodor Adorno, the book argues that art transcends time through a process of metamorphosis – a thesis first developed by the French art theorist, André Malraux. The implications of this idea pose major challenges for traditional thinking about the nature of art.

The responses of the cultural theories in the 1960s to these earlier developments are then discussed in detail. Four addition topics - intentionalistic criticism, symbolism, metaphor, and expression - are also addressed. Finally, five traditional art evaluational theories are presented, and the author constructs an evaluational theory of his own by building on ideas drawn from the work of Monroe Beardsley and Nelson Goodman.

For over fifty years, philosophers working within the broader remit of analytic philosophy have developed and refined a substantial body of work in aesthetics and the philosophy of art, curating a core foundation of scholarship which offers rigor and clarity on matters of profound and perennial interest relating to art and all forms of aesthetic appreciation. Now in its second edition and thoroughly revised, Aesthetics and the Philosophy of Art—The Analytic Tradition: An Anthology captures this legacy in a comprehensive introduction to the core philosophical questions and conversations in aesthetics. Through 57 key essays selected by leading scholars Peter Lamarque and Stein Haugom Olsen, this anthology collects modern classics as well as new contributions on essential topics such as the identification and ontology of art, interpretation, values of art, art and knowledge, and fiction and the imagination. New to this edition are selections which treat aesthetic experience more widely, including essays on the aesthetics of nature and aesthetics in everyday life. Other carefully-chosen pieces analyze the practice and experience of specific art forms in greater detail, including painting, photography, film, literature, music, and popular art such as comics. This bestselling collection is an essential resource for students and scholars of aesthetics, designed to foster a foundational understanding of both long-standing and contemporary topics in the field.

'The Oxford Handbook of Aesthetics' has assembled 48 brand-new essays, making this a comprehensive guide available to the theory, application, history, and future of the field.

Humans have engaged in artistic and aesthetic activities since the appearance of our species. Our ancestors have decorated their bodies, tools, and utensils for over 100,000 years. The expression of meaning using color, line, sound, rhythm, or movement, among other means, constitutes a fundamental aspect of our species' biological and cultural heritage. Art and aesthetics, therefore, contribute to our species identity and distinguish it from its living and extinct relatives. Science is faced with the challenge of explaining the natural foundations of such a unique trait, and the way cultural processes nurture it into magnificent expressions, historically and ethnically unique. How do the human mind and brain bring about these sorts of behaviors? What psychological and neural processes underlie the appreciation of painting, music, and dance? How does training modulate these processes? Are humans the only species capable of aesthetic appreciation, or are other species endowed with the rudiments of this capacity? Empirical examinations of such questions have a long and rich history in the discipline of psychology, the genesis of which can be traced back to the publication of Gustav Theodor Fechner's Vorschule der Aesthetik in 1876, making it the second oldest branch in experimental psychology. The Oxford Handbook of Empirical Aesthetics brings together leading experts in psychology, neuroimaging, art history, and philosophy to answer these questions. It provides the most comprehensive coverage of the domain of empirical aesthetics to date. With sections on visual art, dance, music, and many other art forms and aesthetic phenomena, the breadth of this volume's scope reflects the richness and variety of topics and methods currently used today by scientists to understand the way our mind and brain endow us with the faculty to produce and appreciate art and aesthetics.

Part I. Animals in the landscape of law, politics, and public policy. Animal rights / Gary Francione and Anna Charlton -- Animals in political theory / Sue Donaldson and Will Kymlicka --,Animals as living property / David Favre -- The human-animal bond / James Serpell -- Animal sheltering / Leslie Irvine -- Roaming dogs / Arnold Arluke and Kate Atema -- Misothery : contempt for animals and nature, its origins, purposes, and repercussions / James B. Mason -- Continental approaches to animals and animality / Ralph Acampora -- Animals as legal subjects / Paul Waldau -- The struggle for compassion and justice through critical animal studies / Carol Gigliotti -- Interspecies dialogue and animal ethics : the feminist care perspective / Josephine Donovan -- Part II. Animal intentionality, agency, and reflexive thinking. Cetacean cognition / Lori Marino -- History and animal agencies / Chris Pearson -- Animals as sentient commodities / Rhoda WilPart I.kie -- Animal work / Jocelyne Porcher -- Animals as reflexive thinkers : the Aponoian paradigm / Mark Rowlands and Susana Monsó -- Part III. Animals as objects in science, food, spectacle, and sport. The ethics of animal research / Bernard Rollin -- The ethics of food animal production / Paul Thompson -- Animals as scientific objects / Mike Michael -- The problem with zoos / Randy Malamud -- Wolf hunting and the ethics of predator control / John Vucetich and Michael P. --Nelson -- Part IV. Animals in cultural representations. Practice and ethics of the use of animals in contemporary art /Joe Zammit-Lucia -- Animals in folklore / Boria Sax -- Part V. Animals in ecosystems. Archaeozoology / Juliet Cluton-Brock -- Animals and ecological science / Anita Guerrini -- Staging privilege, proximity, and "extreme animal tourism" / Jane Desmond -- Commensal species / Terry O'Connor -- Lively cities : people, animals, and urban ecosystems / Marcus Owens and Jennifer Wolch -- Animals in religion / Stephen R.L. Clark.