Legendary philosopher and literary critic Mikhail Bakhtin (1895-1975) developed concepts which are bywords within poststructuralist and new historicist literary criticism and philosophy yet have been under-utilised by artists, art historians and art critics. Deborah Haynes aims to adapt Bakhtin's concepts, particularly those developed in his later works, to an analysis of visual culture and art practices, addressing the integral relationship of art with life, the artist as creator, reception and the audience, and context/intertextuality. This provides both a new conceptual vocabulary for those engaged in visual culture - ideas such as answerability, unfinalizability, heteroglossia, chronotope and the carnivalesque (defined in the glossary) - and a new, practical approach to historical analysis of generic breakdown and narrative re-emergence in contemporary art. Haynes uses Bakhtinian concepts to interpret a range of art from religious icons to post-Impressionist painters and Russian modernists to demonstrate how the application of his thought to visual culture can generate significant new insights. Rehabilitating some of Bakhtin's neglected ideas and reframing him as a philosopher of aesthetics, Bakhtin Reframed will be essential reading for the huge community of Bakhtin scholars as well as students and practitioners of visual culture.

Lyotard's claims concerning the postmodern have often been misunderstood or misrepresented. Lyotard Reframed provides an analysis of Lyotard's most influential writings on the postmodern alongside a detailed commentary on his broader philosophy, demonstrating and clarifying his work's ongoing relevance to creative endeavour and debates concerning the value and significance of the visual arts. It also situates Lyotard's discussion of the postmodern within the context of his other key concepts: the figural, the libidinal and the sublime. Accessible in style and approach, Lyotard Reframed employs numerous examples drawn from the arts to critically examine and evaluate the nature, history and significance of these important concepts and explore their respective links with phenomenology, Marxism, structuralism, psychoanalysis and deconstruction.

Dismissed as a miserable elitist who condemned popular culture in the name of 'high art', Theodor W. Adorno (1903-1969) is one of the most provocative and important yet least understood of contemporary thinkers. This book challenges this popular image and re-examines Adorno as a utopian philosopher who believed authentic art could save the world. Adorno Reframed is not only a comprehensive introduction to the reader coming to Adorno for the first time, but also an important re-evaluation of this founder of the Frankfurt School. Using a wealth of concrete illustrations from popular culture, Geoffrey Boucher recasts Adorno as a revolutionary whose subversive irony and profoundly historical aesthetics defended the integrity of the individual against social totality.

He has been regarded with suspicion by some, as an anti-postmodernist who dared to write about unfashionable concepts such as truth and meaning. But in recent years, the philosopher Alain Badiou has risen in prominence, pioneering new ways to produce, conceptualise and discover art. Badiou Reframed is an original book about an original thinker which applies - for the first time - Badiou's philosophy to the visual arts. The six central concepts of this philosophy - 'being and appearing', 'event and subject' and 'truth and ethics' - are elucidated through detailed analysis of a range of visual artworks, including Marcel Duchamp's readymades, the abstract paintings of Kazimir Malevich and Mark Rothko, Banksy's contemporary street art, the sculpture of Alberto Giacometti, Stephane Mallarme's visual poetry and Victor Fleming's classic film The Wizard of Oz. In focusing on Badiou's critical relationship with the visual arts, Alex Ling reinterprets and represents not only the man, but art itself.

This book takes the works of Mikhail Bakhtin as its inspiration in the contemplation of the potential of dialogic scholarship for philosophy of education. While Bakhtin’s work has been widely received in educational studies in recent years, the academic literature does not sufficiently convey the sophistication of his cultural-historical works. Selected works on the limits and perspectives of Mikhail Bakhtin are presented in the book. In doing so, the contributors seek to interpret the work of the Bakhtin Circle in a complex contemporary world. Layering and drawing from the many ideas explored by the Circle during their collective lifetimes and those that influenced their work, each chapter offers a different dimension of thought concerning issues facing societies remote (or perhaps not so remote) from the world of post-revolutionary Russia. In the post-2008 era, during which financial crises have morphed into global recession and which characterise growing social inequities, widespread political instabilities and further environmental decline and resource depletion, what is needed more than ever is a twenty-first century Bakhtin, one that is occupied with the distinct challenges our times present to all of us. The individual contributors to Bakhtin in the Fullness of Time aim to contribute to a revisioning and reassessment of Bakhtin, through a diverse series of engagements with both his legacy and future promise. In contemplating Bakhtin in the fullness of time, historical perspectives and contributions must be encountered in a contemporary understanding that will contribute to philosophy of education today. The chapters in this book were originally published in the journal Educational Philosophy and Theory.

By and large, architectural historians use texts, drawings, and photographs to craft their narratives. Oral testimony from those who actually occupy or construct buildings is rarely taken as seriously. Speaking of Buildings offers a rebuttal, theorizing the radical potential of a methodology that has historically been cast as unreliable. Essays by an international group of scholars look at varied topics, from the role of gossip in undermining masculine narratives in architecture to workers' accounts of building with cement in midcentury London to a sound art piece created by oral testimonies from Los Angeles public housing residents. In sum, the authors call for a renewed form of listening to enrich our understanding of what buildings are, what they do, and what they mean to people.