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OverviewCurrent philosophical discussions of self-deception remain steeped in disagreement and controversy. In The Self-Deceiving Muse, Alan Singer proposes a radical revision of our commonplace understanding of self-deception. Singer asserts that self-deception, far from being irrational, is critical to our capacity to be acute ""noticers"" of our experience. The book demonstrates how self-deception can be both a resource for rational activity generally and, more specifically, a prompt to aesthetic innovation. It thereby provides new insights into the ways in which our imaginative powers bear on art and life. The implications-philosophical, aesthetic, and ethical-of such a proposition indicate the broadly interdisciplinary thrust of this work, which incorporates ""readings"" of novels, paintings, films, and video art. Full Product DetailsAuthor: Alan Singer (Director of Graduate Studies, Temple University)Publisher: Pennsylvania State University Press Imprint: Pennsylvania State University Press Dimensions: Width: 15.20cm , Height: 2.30cm , Length: 22.90cm Weight: 0.481kg ISBN: 9780271037219ISBN 10: 0271037210 Pages: 240 Publication Date: 07 September 2010 Audience: Professional and scholarly , Professional & Vocational Format: Hardback Publisher's Status: Active Availability: To order Stock availability from the supplier is unknown. We will order it for you and ship this item to you once it is received by us. Table of ContentsContents List of Illustrations Acknowledgments Introduction 1 The Self-Deceiving Muse 2 Illusionism and the Self-Deceiving I 3 Learning from Self-Deception 4 Being Out of Character / Normativizing Self-Deception 5 Picturing Self-Deception 6 Spelling Out the Viewer 7 Shameless Self-Deception Notes Bibliography IndexReviewsRaising the scandalous proposition that the 'self-deceiver' should be seen less as the condemnable antagonist of Reason than as the perpetrator of the active imagination that gives rise to genuine aesthetic experience, Singer tests his claim with a series of brilliant arguments grounded in literary, philosophical, and art studies extending from familiar classics--Parmigianino, Tintoretto, Flaubert, and Hegel--to such moderns as Jeff Wall, Bill Viola, Gerhard Richter, and Peter Greenaway. The Self-Deceiving Muse should add significantly to contemporary debate on the relations between reason, aesthetics, and ethics in a language thoroughly conversant with recent critical theory. --Josef Chytry, University of California, Berkeley, and California College of the Arts Raising the scandalous proposition that the self-deceiver should be seen less as the condemnable antagonist of Reason than as the perpetrator of the active imagination that gives rise to genuine aesthetic experience, Singer tests his claim with a series of brilliant arguments grounded in literary, philosophical, and art studies extending from familiar classics Parmigianino, Tintoretto, Flaubert, and Hegel to such moderns as Jeff Wall, Bill Viola, Gerhard Richter, and Peter Greenaway. The Self-Deceiving Muse should add significantly to contemporary debate on the relations between reason, aesthetics, and ethics in a language thoroughly conversant with recent critical theory. Josef Chytry, University of California, Berkeley, and California College of the Arts Raising the scandalous proposition that the 'self-deceiver' should be seen less as the condemnable antagonist of Reason than as the perpetrator of the active imagination that gives rise to genuine aesthetic experience, Singer tests his claim with a series of brilliant arguments grounded in literary, philosophical, and art studies extending from familiar classics--Parmigianino, Tintoretto, Flaubert, and Hegel--to such moderns as Jeff Wall, Bill Viola, Gerhard Richter, and Peter Greenaway. The Self-Deceiving Muse should add significantly to contemporary debate on the relations between reason, aesthetics, and ethics in a language thoroughly conversant with recent critical theory. --Josef Chytry, University of California, Berkeley, and California College of the Arts Raising the scandalous proposition that the self-deceiver should be seen less as the condemnable antagonist of Reason than as the perpetrator of the active imagination that gives rise to genuine aesthetic experience, Singer tests his claim with a series of brilliant arguments grounded in literary, philosophical, and art studies extending from familiar classics Parmigianino, Tintoretto, Flaubert, and Hegel to such moderns as Jeff Wall, Bill Viola, Gerhard Richter, and Peter Greenaway. The Self-Deceiving Muse should add significantly to contemporary debate on the relations between reason, aesthetics, and ethics in a language thoroughly conversant with recent critical theory. Josef Chytry, University of California, Berkeley, and California College of the Arts Raising the scandalous proposition that the 'self-deceiver' should be seen less as the condemnable antagonist of Reason than as the perpetrator of the active imagination that gives rise to genuine aesthetic experience, Singer tests his claim with a series of brilliant arguments grounded in literary, philosophical, and art studies extending from familiar classics--Parmigianino, Tintoretto, Flaubert, and Hegel--to such moderns as Jeff Wall, Bill Viola, Gerhard Richter, and Peter Greenaway. The Self-Deceiving Muse should add significantly to contemporary debate on the relations between reason, aesthetics, and ethics in a language thoroughly conversant with recent critical theory. --Josef Chytry, University of California, Berkeley, and California College of the Arts Raising the scandalous proposition that the self-deceiver should be seen less as the condemnable antagonist of Reason than as the perpetrator of the active imagination that gives rise to genuine aesthetic experience, Singer tests his claim with a series of brilliant arguments grounded in literary, philosophical, and art studies extending from familiar classics Parmigianino, Tintoretto, Flaubert, and Hegel to such moderns as Jeff Wall, Bill Viola, Gerhard Richter, and Peter Greenaway. The Self-Deceiving Muse should add significantly to contemporary debate on the relations between reason, aesthetics, and ethics in a language thoroughly conversant with recent critical theory. Josef Chytry, University of California, Berkeley, and California College of the Arts Raising the scandalous proposition that the self-deceiver should be seen less as the condemnable antagonist of Reason than as the perpetrator of the active imagination that gives rise to genuine aesthetic experience, Singer tests his claim with a series of brilliant arguments grounded in literary, philosophical, and art studies extending from familiar classics Parmigianino, Tintoretto, Flaubert, and Hegel to such moderns as Jeff Wall, Bill Viola, Gerhard Richter, and Peter Greenaway. The Self-Deceiving Muse should add significantly to contemporary debate on the relations between reason, aesthetics, and ethics in a language thoroughly conversant with recent critical theory. Josef Chytry, University of California, Berkeley, and California College of the Arts Raising the scandalous proposition that the 'self-deceiver' should be seen less as the condemnable antagonist of Reason than as the perpetrator of the active imagination that gives rise to genuine aesthetic experience, Singer tests his claim with a series of brilliant arguments grounded in literary, philosophical, and art studies extending from familiar classics--Parmigianino, Tintoretto, Flaubert, and Hegel--to such moderns as Jeff Wall, Bill Viola, Gerhard Richter, and Peter Greenaway. The Self-Deceiving Muse should add significantly to contemporary debate on the relations between reason, aesthetics, and ethics in a language thoroughly conversant with recent critical theory. --Josef Chytry, University of California, Berkeley, and California College of the Arts Author InformationAlan Singer is Professor of English at Temple University. His previous books include Aesthetic Reason: Artworks and the Deliberative Ethos (Penn State, 2003). Tab Content 6Author Website:Countries AvailableAll regions |