Interpretation and Meaning in Philosophy and Religion synthesizes cutting-edge philosophical reflections on interpretation with their application to religion. For this, new theoretical insights on interpretation by Krausz, Lamarque, Leddy, Hagberg, and Gibson are examined. Topics cover multiplism (i.e. interpretative pluralism), the goal of interpretation and its starting point. These concepts are then studied in relation to the practice of interpreting religious texts. For example, Grube proposes that the action-relevance of religious interpretations limits the possibility of...

Other Logics: Alternatives to Formal Logic in the History of Thought and Contemporary Philosophy challenges the widespread idea of formal logic as inherently monolithic, universal, and ahistorical. Written by both leading and up-and-coming scholars, and edited by Admir Skodo, Other Logics offers a wide variety of historical and philosophical alternatives to this idea, all arguing that logic is a historical, concrete, and multi-dimensional phenomenon. To name a few examples, Frank Ankersmit lays down a representationalist logic, Alessandra Tanesini forcefully argues for the...

This volume discusses the role of embodiment in the reevaluation of aesthetics as a process of bodily mediated meaning-making. It focuses on the bodily basis of aesthetic appreciation from an evolutionary point of view, on the bodily physical structures such as the brain involved in perception, on aesthetic experience and appreciation, on the role of physiological responses in experiencing the objects of the environment aesthetically, on the role of one's own body in motion in the engagement with the environment, on somatic responses and the experience of meaning, on the pre-reflective...

Haecceities: Essentialism, Identity, and Abstraction is both an artistic and philosophical examination of the limits of Abstraction in art and of kinds of radical identity that are determined in the identification of those limits. Building on his work Subjects and Objects, Strayer shows how the fundamental conditions of making and apprehending works of art can be used, in concert with language, thought, and perception, as material for producing the more Abstract and radical artworks possible. Certain limits of Abstraction and possibilities of radical identity are then identified...