Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. "After the End of Art" presents Danto's first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, he leads the way to a new type of criticism that can help us understand art in a posthistorical age where, for example, an artist can produce a work in the style of Rembrandt to create a visual pun, and where traditional theories cannot explain the difference between Andy Warhol's Brillo Box and the product found in the grocery store.Here we are engaged in a series of insightful and entertaining conversations on the most relevant aesthetic and philosophical issues of art, conducted by an especially acute observer of the art scene today. Originally delivered as the prestigious "Mellon Lectures on the Fine Arts", these writings cover art history, pop art, 'people's art,' the future role of museums, and the critical contributions of Clement Greenberg - who helped make sense of modernism for viewers over two generations ago through an aesthetics-based criticism. Tracing art history from a mimetic tradition (the idea that art was a progressively more adequate representation of reality) through the modern era of manifestos (when art was defined by the artist's philosophy), Danto shows that it wasn't until the invention of Pop art that the historical understanding of the means and ends of art was nullified.Even modernist art, which tried to break with the past by questioning the ways of producing art, hinged on a narrative. Traditional notions of aesthetics can no longer apply to contemporary art, argues Danto. Instead he focuses on a philosophy of art criticism that can deal with perhaps the most perplexing feature of contemporary art: that everything is possible.

《加缪手记：第一卷》包含加缪1935年5月到1942年2月之间的手记，是了解加缪其人及其思想不可或缺的重要记录，更是理解其创作的关键。他在手记中写下他的读书杂感、生活随想、情感波动，以及写作构思的方式，其中充满了精彩动人的哲学思考。书信手记最能凸显与呈现一个人内 心的诸貌与真实，通过加缪的手记，我们更能全面地了解这位被称为“以睿智与热诚，阐明了我们时代良知”的伟大创作者的心智与情感。 本手记大致可分为三大类： 第一类属于哲学思考、片段的描写以及从生活中搜罗而来的谈话记录。手记里的许多片段几乎一字不改地用在了《局外人》《婚礼集》和《反与正》等作品中。 第二类是读书心得，包括影响他最大的作者尼采、戴·赫·劳伦斯、梅尔维尔和马尔罗等。《局外人》和《西西弗斯神话》的各个主题，不论是死亡的结局、清醒的心智、无神论观点和肉体生活的价值，都有在手记里反复出现与探讨。 第三类大部分都没有用在发表的作品中，有些则改写入早期的小说《快乐的死》。

◎“我们所害怕的，正是我们所渴望的” ◎孤独的哲人、存在主义之父 克尔凯郭尔 思想精华 ◎十堂课读懂大师思想 让哲学不再令人生畏 ◎英国格兰塔出版社王牌书系 【编辑推荐】 ※克尔凯郭尔被誉为“存在主义之父”，是19世纪最具影响力和创造力的哲学家之一。理解克尔凯郭尔是理解现代存在主义思想的关键。 ※英国知名出版社格兰塔王牌书系之一，广受读者欢迎和好评。 ※本书系由当代著名哲学家西蒙•克里奇利主编，每本书均由各个领域的权威教授和专家撰写，内容深入浅出，是阅读这些大师级思想家的绝佳入门。 ※装帧精美，小开本便于携带。 【内容简介】 被誉为“存在主义之父”的索伦· 克尔凯郭尔是19 世纪最具创造力的思想家之一。他以诸多假名创造了数量庞大的著作，其中一些被誉为欧洲思想史上最伟大的作品，影响了包括海德格尔、萨特、加缪等一批后世著名的欧洲思想家。而在作品与思想之外，克尔凯郭尔孤独的生活、对婚姻的反对态度也让人对他的生平产生好奇。 在《如何阅读克尔凯郭尔》中，约翰·D. 卡普托从克尔凯郭尔卷帙浩繁的著作中选取了十段关键文本，将它们与克尔凯郭尔的生平事迹相结合，进行逐一解读和延伸，向我们展示了这位信仰的骑士与孤独的哲人的生命与思想。 【名人推荐】 “‘如何阅读’系列通过对作品的文本细读，让我们可以和这些大师级思想家面对面相遇。” ——特里·伊格尔顿 “这套看上去薄薄的小册子是一堂真正教你‘如何阅读’的课程，而非‘如何假装阅读’。” ——约翰·班维尔

全书共收入瓦尔特·本雅明于20世纪30年代写就的《摄影小史》（1931）、《机械复制时代的艺术作品》（1936）、《绘画与摄影》（1936）和《法国国家图书馆中国画展》（1938）4篇论文。 其中，《摄影小史》和《机械复制时代的艺术作品》均为本雅明享誉世界的佳作名篇。作为对摄影、电影的批评实践中的丰碑，它们不仅为人们理解这两个媒介提供了一种全新且富于启发的视角，对尼塞福尔·尼埃普斯（Nicéphore Niépce）、欧仁·阿特热（Eugène Atget）乃至奥古斯特·桑德（August Sander）这样的摄影先驱及他们的美学、技术成就做出了令人印象深刻的评判，也极为深入地讨论了摄影、电影与绘画之间纠缠不清、若即若离的关系。

The Signature of All Things is Giorgio Agamben’s sustained reflection on method. To reflect on method implies for Agamben an archeological vigilance: a persistent form of thinking whose path is to expose, examine, and elaborate that which remains obscure, unthematized, even unsaid, in an author’s thought. To be archeologically vigilant, then, is to return to, even invent, a method attuned to a “world supported by a thick plot of resemblances and sympathies, analogies and correspondences.” The range of authors and of topics Agamben collects in this slim but dense volume exemplifies this search to create a science of signatures that exceeds either a semiology or hermeneutics vainly attempting to determine the pure and unmarked signs that signify univocally, neutrally, and eternally. Three conceptual figures organize this treatise and the advent of Agamben’s own new method: the paradigm, the signature, and archeology. Each chapter is devoted to an investigation of one of these concepts whose genealogy Agamben carefully constructs transhistorically and from an interdisciplinary perspective. And at each moment of the text, Agamben pays tribute to Michel Foucault whose methods he rethinks and effectively uses to reformulate the logic of the concepts he isolates. The Signature of All Things reveals once again, how and why, Agamben is one of the most innovative thinkers writing today.

Perhaps the most important aesthetics of the twentieth century appears here newly translated, in English that is for the first time faithful to the intricately demanding language of the original German. The culmination of a lifetime of aesthetic investigation, Aesthetic Theory is Theodor W. Adorno's magnum opus, the clarifying lens through which the whole of his work is best viewed, providing a framework within which his other major writings cohere.

While humanists have pondered the subject of love to the point of obsessiveness, philosophers have steadfastly ignored it. The word philosophy means “love of wisdom,” but the absence of love from philosophical discourse is curiously glaring. In The Erotic Phenomenon, Jean-Luc Marion attends to this dearth with an inquiry into the concept of love itself. Marion begins with a critique of Descartes’ equation of the ego’s ability to doubt with the certainty that one exists. We encounter love, he says, when we first step forward as a lover: I love therefore I am, and my love is the reason I care whether I exist or not. This philosophical base allows Marion to probe several manifestations of love and its variations, including carnal excitement, self-hate, lying and perversion, fidelity, the generation of children, and the love of God. Throughout, Marion stresses that all erotic phenomena stem not from the ego as popularly understood but instead from love. “Marion is doing the most interesting work in phenomenology today. . . . This is not a book about other books about love. It is patiently and carefully attentive to ‘the things themselves,’ and reads as an analysis that is at once rigorous and lyrical—attuned to both the concept and the caress.”—Choice “Marion's avowed topic is the erotic phenomenon, and his method is phenomenology. He is a master of that method, and the result is an analysis of erotic love of unparalleled precision and depth. The depiction he gives of the erotic phenomenon is fundamentally convincing, and readers will find their own loves illuminated and questioned.”—Commonweal

This compelling and highly original book represents a confrontation between two of the most radical thinkers at work in France today: Alain Badiou and the author, Francois Laruelle. At face value, the two have much in common: both espouse a position of absolute immanence; both argue that philosophy is conditioned by science; and both command a pluralism of thought. Anti-Badiou relates the parallel stories of Badiou's Maoist 'ontology of the void' and Laruelle's own performative practice of 'non-philosophy' and explains why the two are in fact radically different. Badiou's entire project aims to re-educate philosophy through one science: mathematics. Laruelle carefully examines Badiou's Being and Event and shows how Badiou has created a new aristocracy that crowns his own philosophy as the master of an entire theoretical universe. In turn, Laruelle explains the contrast with his own non-philosophy as a true democracy of thought that breaks philosophy's continual enthrall with mathematics and instead opens up a myriad of 'non-standard' places where thinking can be found and practised.

Steven B. Smith examines the concept of modernity, not as the end product of historical developments but as a state of mind. He explores modernism as a source of both pride and anxiety, suggesting that its most distinctive characteristics are the self-criticisms and doubts that accompany social and political progress. Providing profiles of the modern project’s most powerful defenders and critics—from Machiavelli and Spinoza to Saul Bellow and Isaiah Berlin—this provocative work of philosophy and political science offers a novel perspective on what it means to be modern and why discontent and sometimes radical rejection are its inevitable by-products. Review “Steven B. Smith's timely and thoughtful new book offers an insightful and impressively wide-ranging discussion of modernity and its internal tensions. It will be widely read and discussed for years to come.”—Charles L. Griswold, Bowne Professor of Philosophy, Boston University (Charles L. Griswold) "Steven B. Smith’s powerfully lucid intellectual history of modernity offers a new take on the dialogue between ancients and moderns, showing how a diverse group of modern philosophers and writers became more aware of their own ideas and identity by engaging with perennial issues. As an account of who we in the West have become, Modernity and its Discontents should inform discussions of what we might mean by progress in the future."--Michael S. Roth, President, Wesleyan University (Michael S. Roth) "Whether you are a lover of modernity or a pre-modern or post-modern critic, this is a book that will engage, enlighten, and provoke you. The chapters are free-standing essays, but they add up to an important argument--and they are at the same time intellectual fun, of a very high order."--Michael Walzer, Institute for Advanced Study, Princeton, NJ (Michael Walzer) “[Smith is] superb at bringing abstract ideas to life. . . . Smith’s heart is with an urbane liberal like [Isaiah] Berlin, for whom . . . ‘modernity is not a problem to be overcome but a challenge to be met.’”—James Miller, The New York Times Book Review (James Miller New York Times Book Review) "Wonderfully erudite. . . . Nothing less than a short history and analysis of modernity itself."—Christopher Atamian, The Weekly Standard (Christopher Atamian The Weekly Standard) “Each chapter . . . is a master class on the relationship between academic scholarship and text-centered teaching, linked by a shared concern with the blessings and curses of the modern self in its quest for intellectual coherence and moral significance.”—Choice (Choice) “A superb collection.”—Commonweal (Commonweal) Won an Honorable Mention in the Philosophy category for the 2017 American Publishers Awards for Professional & Scholarly Excellence (PROSE). (PROSE PROSE 2017-02-03)

这部创新之作对西欧戏剧传统中的演出空间进行了历史描述。大卫·怀尔斯采取了一种广泛的视野，认为戏剧活动既发生在作为“剧场”而设计的建筑中，同样也发生在教堂、街道、酒馆和画廊。他追溯了从希腊罗马直至当下的一系列不同的空间连续性，其中包括在标准的戏剧史中没有涵盖的领域。借鉴亨 利·列斐伏尔的文化地理学，本书将戏剧演出定义为特定社会结构的空间实践。这不是一部戏剧文学的背景史。怀尔斯利用历史材料来解决一个当前的紧迫问题：戏剧演出是在现代建筑师设计的、表面中性的“空的空间”中更好，还是在富有个性的“现成空间”中更好？

What is reality, really? Are humans more special or important than the non-human objects we perceive? How does this change the way we understand the world? We humans tend to believe that things are only real in as much as we perceive them, an idea reinforced by modern philosophy, which privileges us as special, radically different in kind from all other objects. But as Graham Harman, one of the theory's leading exponents, shows, Object-Oriented Ontology rejects the idea of human specialness: the world, he states, is clearly not the world as manifest to humans. At the heart of this philosophy is the idea that objects - whether real, fictional, natural, artificial, human or non-human - are mutually autonomous. In this brilliant new introduction, Graham Harman lays out the history, ideas and impact of Object-Oriented Ontology, taking in everything from art and literature, politics and natural science along the way.

Videogames are a unique artistic form, and to analyse and understand them an equally unique language is required. Cremin turns to Deleuze and Guattari’s non-representational philosophy to develop a conceptual toolkit for thinking anew about videogames and our relationship to them. Rather than approach videogames through a language suited to other media forms, Cremin invites us to think in terms of a videogame plane and the compositions of developers and players who bring them to life. According to Cremin, we are not simply playing videogames, we are creating them. We exceed our own bodily limitations by assembling forces with the elements they are made up of. The book develops a critical methodology that can explain what every videogame, irrespective of genre or technology, has in common and proceeds on this basis to analyse their differences. Drawing from a wide range of examples spanning the history of the medium, Cremin discerns the qualities inherent to those regarded as classics and what those qualities enable the player to do. Exploring Videogames with Deleuze and Guattari analyses different aspects of the medium, including the social and cultural context in which videogames are played, to develop a nuanced perspective on gendered narratives, caricatures and glorifications of war. It considers the processes and relationships that have given rise to industrial giants, the spiralling costs of making videogames and the pressure this places developers under to produce standard variations of winning formulas. The book invites the reader to embark on a molecular journey through worlds neither ‘virtual’ nor ‘real’ exceeding image, analogy and metaphor. With clear explanations and detailed analysis, Cremin demonstrates the value of a Deleuzian approach to the study of videogames, making it an accessible and valuable resource for students, scholars, developers and enthusiasts.

本书初版于1957年。在现代主义晚期建筑文化快要窒息的氛围中，此书从现象学和象征意义的角度，对建筑展开了独到的思考和想象。作者认为，空间并非填充物体的容器，而是人类意识的居所，建筑学就是栖居的诗学。书中最精彩之处，莫过于对亲密空间的描绘与想象。他指出，家是人在世界的角落，家的意象反映了亲密、孤独、热情的意象。我们在家屋之中，家屋也在我们之内。我们诗意地建构家屋，家屋也灵性地建构我们。

Combining personal memoir, philosophical essay, and historical analysis, Svetlana Boym explores the spaces of collective nostalgia that connect national biography and personal self-fashioning in the twenty-first century. She guides us through the ruins and construction sites of post-communist cities–St. Petersburg, Moscow, Berlin, and Prague–and the imagined homelands of exiles-Benjamin, Nabokov, Mandelstahm, and Brodsky. From Jurassic Park to the Totalitarian Sculpture Garden, Boym unravels the threads of this global epidemic of longing and its antidotes.

From later antiquity down to the close of the eighteenth century, most philosophers and men of science and, indeed, most educated men, accepted without question a traditional view of the plan and structure of the world. In this volume, which embodies the William James lectures for 1933, Arthur O. Lovejoy points out the three principles--plenitude, continuity, and graduation--which were combined in this conception; analyzes their origins in the philosophies of Plato, Aristotle, and the Neoplatonists; traces the most important of their diverse samifications in subsequent religious thought, in metaphysics, in ethics and aesthetics, and in astronomical and biological theories; and copiously illustrates the influence of the conception as a whole, and of the ideas out of which it was compounded, upon the imagination and feelings as expressed in literature.

本雅明，作为极富洞见的思想者，是二十世纪罕见的天才，被称为“欧洲最后一名知识分子”。其独一无二的文本形式，既承接欧洲格言哲学的传统，又启发了后来者絮语式的文本，虽无体系之严整与统一，却有击中人心的力量。本雅明的作品就像一个投影仪，把他思想深处方方面面的小收藏展示出来，介 绍给众人听：断想、纲领、启发、洞见、哲悟、随感… 与个人际遇、情感、生命和灵魂紧紧贴在一起。本书收录了本雅明最具代表性的作品：《单向街》《机械复制时代的艺术作品》《讲故事的人》《评弗兰茨·卡夫卡》《摄影的简史》，分别涉及个人随想、艺术环境评论、叙事学研究、文学个体评述、影像艺术批评等，展示了作者广阔的批评视野和极富穿透力的洞见。

Brought to light at last–the fourth volume in the famous History of Sexuality series by one of the most influential thinkers of the twentieth century, his final work, which he had completed, but not yet published, upon his death in 1984 Michel Foucault’s philosophy has made an indelible impact on Western thought, and his History of Sexuality series–which traces cultural and intellectual notions of sexuality, arguing that it is profoundly shaped by the power structures applied to it–is one of his most influential works. At the time of his death in 1984, he had completed–but not yet edited or published–the fourth volume, which posits that the origins of totalitarian self-surveillance began with the Christian practice of confession. This is a text both sweeping and deeply personal, as Foucault–born into a French Catholic family–undoubtedly wrestled with these issues himself. Since he had stipulated “Pas de publication posthume,” this text has long been secreted away. However, the sale of the Foucault archives in 2013–which made this text available to scholars–prompted his nephew to seek wider publication. This attitude was shared by Foucault’s longtime partner, Daniel Defert, who said, “What is this privilege given to Ph.D students? I have adopted this principle: It is either everybody or nobody.”

【编辑推荐】 奥瑞纳雕像、拉斯科壁画、希腊瓶绘、丢勒、提香、马奈、雷诺阿、毕加索、安德烈•马松……延续《色情》《艺术的诞生：拉斯科奇迹》的主题，重现艺术进程中色情观念的变迁与兴衰。 ----------------------------------------- ★ “爱欲与死亡的大师”乔治•巴塔耶临终之作，继《色情》《色情史》后乔治•巴塔耶关于色情的又一力作，一部另类“色情史”。 ★在诗性的沉醉和神圣的迷狂中，探索欲望的真谛；借艺术之光，揭露爱欲背后隐藏的死神面容。 ----------------------------------------- ★ 配200余幅图片，图文并茂，异趣纷呈。 ★装帧由屡获“最美的书”殊荣的知名设计师周伟伟精心打造，极具收藏价值；内文正文双色印刷（象征爱欲的红色+象征死亡的黑色），辅文精选柔情粉色纸，给人绝妙的阅读体验。 ======================= 【内容简介】 作为“爱欲与死亡的大师”（苏珊•桑塔格语），欲望与死亡是乔治•巴塔耶一生探寻和追问的两大母题。除了《眼睛的故事》《爱德华妲夫人》《我的母亲》等色情小说外，巴塔耶先后出版了三部探讨色情的专著：《色情史》《色情》《爱神之泪》。这本《爱神之泪》是巴塔耶的最后一部作品，可以算是一部另类“色情史”。 本书延续了巴塔耶《色情》《艺术的诞生：拉斯科奇迹》的主题，试图重现艺术进程中色情观念的变迁与兴衰。本书共配有200余幅图片，向我们展示了一系列令人眼花缭乱的图像：从史前的拉斯科壁画到现代的超现实主义绘画，从原始部落的献祭到封建社会的酷刑，爱欲的乐园与死亡的炼狱构成了人类激情的两极。作者在诗性的沉醉和神圣的迷狂中探索欲望的真谛，并借艺术之光，揭露出爱欲背后隐藏的死神面容。 巴塔耶一生都在不懈地追寻爱神，同时又不断地迈向泪水并迷失于泪水。正如书名“爱神之泪”暗示的，象征欢愉的爱神也会陷入悲伤，对于巴塔耶来说，爱与死、色与苦、笑与泪，原本就是一体。这本《爱神之泪》是巴塔耶的最后之书，亦是他的最后之泪。