This is the first collection in English devoted exclusively to pragmatist aesthetics. Its main aim is to employ the resources of that rich and exciting tradition in studying artistic phenomena such as film, sculpture, bio-art, poetry, the novel, cuisine, and various body arts. But it also attempts to provide a wider background for such studies by sketching the history of pragmatist reflection on the aesthetic and by discussing some of the main positions that this history has produced: the aesthetic conceptions of C.S. Peirce, William James, John Dewey, Joseph Margolis, Richard Shusterman (somaesthetics in particular), and others.

This much acclaimed book has emerged as neo-pragmatism's most significant contribution to contemporary aesthetics. By articulating a deeply embodied notion of aesthetic experience and the art of living, and by providing a compellingly rigorous defense of popular art—crowned by a pioneer study of hip hop—Richard Shusterman reorients aesthetics towards a fresher, more relevant, and socially progressive agenda. The second edition contains an introduction where Shusterman responds to his critics, and it concludes with an added chapter that formulates his novel notion of somaesthetics.

This much acclaimed book has emerged as neo-pragmatism's most significant contribution to contemporary aesthetics. By articulating a deeply embodied notion of aesthetic experience and the art of living, and by providing a compellingly rigorous defense of popular art--crowned by a pioneer study of hip hop--Richard Shusterman reorients aesthetics towards a fresher, more relevant, and socially progressive agenda. The second edition contains an introduction where Shusterman responds to his critics, and it concludes with an added chapter that formulates his novel notion of somaesthetics.

Applying contemporary pragmatism to the crucial question of how philosophy can help us live better, Shusterman develops his distinctive aesthetic model of philosophical living that includes politics, somatics, and ethnicity, while critically engaging the rival views of Dewey, Wittgenstein, and Foucault, as well as Rorty, Putnam, Goodman, Habermas, and Cavell.

Embodying Pragmatism is the first monograph in English devoted to Richard Shusterman, an internationally renowned philosopher and one of today's most innovative thinkers in pragmatism and aesthetics. The book presents a comprehensive account of Shusterman's principal philosophical ideas concerning pragmatism, aesthetics, and literary theory (including such themes as interpretation, aesthetic experience, popular art, and human embodiment - culminating in his proposal of a new discipline called «somaesthetics»). As Shusterman's philosophical writings involve a dialogue with both analytic and continental traditions, this monograph not only offers a critical vision of contemporary pragmatist thought but also situates Shusterman and pragmatism within the current state of theory.

Aesthetic experience has had a long and contentious history in the Western intellectual tradition. Following Kant and Hegel, a human’s interaction with nature or art frequently has been conceptualized as separate from issues of practical activity or moral value. This book examines how art can be seen as a way of moral cultivation. Scott Stroud uses the thought of the American pragmatist John Dewey to argue that art and the aesthetic have a close connection to morality. Dewey gives us a way to reconceptualize our ideas of ends, means, and experience so as to locate the moral value of aesthetic experience in the experience of absorption itself, as well as in the experience of reflective attention evoked by an art object.

Although there are distinctly American artists--Walt Whitman, Herman Melville, Grandma Moses, Thomas Hart Benton, and Andy Warhol, for example--very little attention has been devoted to formulating any distinctively American characteristics of aesthetic judgment and practice. This volume takes a step in this direction, presenting an introductory essay on the possibility of such a distinctly American tradition, and a collection of essays exploring particular examples from a variety of angles. Some of the essays in this collection extend pragmatist and process insights about the important place aesthetics has in molding and assessing experience. Other essays examine the place of American aesthetics in relation to such particular forms of art as painting, literature, music, and film. Three essays attend to the aesthetic aspects of a flourishing life. In each of the essays, American aesthetics is understood to arise out of deeply felt personal, historical, and cultural backgrounds. Consequently, not only are such relatively abstract notions as harmony, fit, elegance, proportion, and the like involved in aesthetic judgment, but also religious, political, and social factors become embroiled in aesthetic discernment. Thus the ongoing pattern of American aesthetics is shown to be distinguishable from such other varieties of aesthetic thought as analytic aesthetics, New Criticism, and postmodern approaches to aesthetics.