Böcker i Columbia Themes in Philosophy, Social Criticism, and the Arts-serien

The Italian philosopher Maurizio Lazzarato reveals the underpinnings of contemporary subjectivity in the aesthetics and politics of mass media. This book discloses the conceptual groundwork of Lazzarato's thought as a whole for a time when his writings have become increasingly influential.

In 1996 Jacques Derrida gave a lecture at the Museum of Modern Art on Antonin Artaud. Artaud the Moma reveals the challenge that Artaud posed to Derrida-and to art and its institutional history. It is a powerful interjection into the museum halls, a crucial moment in Derrida's thought, and an insightful reading of a challenging writer and artist.

Considers the particular representations that link music and madness, investigating the underlying motives, preconceptions, and ideological premises that facilitate the association of these two experiences.

Cecilia Sjoholm reads Hannah Arendt as a philosopher of the senses, grappling with questions of vision, hearing, and touch even in her political work. Constructing an Arendtian theory of aesthetics from the philosopher's fragmentary writings on art and perception, Sjoholm begins a vibrant new chapter in Arendt scholarship that expands her relevance for contemporary philosophers.Arendt wrote thoughtfully about the role of sensibility and aesthetic judgment in political life and on the power of art to enrich human experience. Sjoholm draws a clear line from Arendt's consideration of these subjects to her reflections on aesthetic encounters and works of art mentioned in her published writings and stored among her memorabilia. This delicate effort allows Sjoholm to revisit Arendt's political concepts of freedom, plurality, and judgment from an aesthetic point of view and incorporate Arendt's insight into current discussions of literature, music, theater, and visual art. Though Arendt did not explicitly outline an aesthetics, Sjoholm's work substantively incorporates her perspective into contemporary reckonings with radical politics and their relationship to art.

Drawing on examples from literature, politics, philosophy, and additional pieces of art, this book reveals surprising parallels between the people's political representation and their aesthetic representation.

Paolo D'Angelo traces the history of concealing art-which Italian calls sprezzatura-from ancient rhetoric to our own times. Finding the precept that art must be hidden from cosmetics to interior design, politics to poetry, the English garden to shabby chic, Sprezzatura is an erudite and surprising tour of aesthetics, philosophy, and art history.