Taking as his starting-point the emerging scientific view of the universe as a free, unpredictable, self-ordering evolutionary process in which human cultural history plays a leading part, Turner (arts and humanities, U. of Texas at Dallas) ...

Individualism: The Cultural Logic of Modernity is an edited collection of sixteen essays on the idea of the modern sovereign individual in the western cultural tradition. Reconsidering the eighteenth-century realist novel, twentieth-century modernism, and underappreciated topics on individualism and literature, this volume provocatively revises and enriches our understanding of individualism as the generative premise of modernity itself.

In this groundbreaking interdisciplinary work, Frederick Turner presents a new theory of aesthetics based on the argument that beauty is an objective reality in the universe. He identifies the experience of beauty as a pancultural, neurobiological phenomenon. Drawing on recent work in a wide range of fields--ritual and dramatic performance, the oral tradition, paleoanthropology and human evolution, neurobiology, cosmology and theoretic physics, chaos theory and fractal mathematics--the book describes evolution as a self-organizing, emergent process that generates increasingly advanced forms of (...) self-reflection, and proposes that the experience of beauty is the recognition of this evolutionary process and the reward for participating in it. The experience of aesthetic beauty, Turner says, is an adaptive function that drives evolution through sexual selection. Those individuals most sensitive to beauty survived surface cultural changes, excelled in mating rituals, and were participants in the positive evolution of the species. Turner shows how, as a result, neurotransmitters in the brain respond to certain inherited systems by which we appreciate beauty. Turner also presents the implications for theories of art and literature that follow from his identification of the inherent genres of human aesthetic experience. Forms of art cannot be arbitrary but must be rooted in our biological inheritance. This calls into question theories about modern art, and suggests that modernist culture turned its back on beauty in an attempt to repress and avoid the shame of humanness and our biological nature. This book breaks radically with contemporary positions in psychology, sociology, philosophy, andart, and offers an alternative to present trends in literary and critical theory. It should be of interest to a wide variety of readers, including the artistic community, critical theorists, students of oral traditions, philosophers, and aestheticians. (shrink)

Based on the proven maxim that "money makes the world go round", this study, drawing from Shakespeare's texts, presents a lexicon of common words as well as a variety of familiar familial and cultural sitations in an economic context. Making constant recourse to well-known material from Shakespeare's plays, Turner demonstrates that terms of money and value permeate our minds and lives even in our most mundane moments. His book offers a new, humane, evolutionary economics that fully expresses the moral, spiritual, (...) and aesthetic relationships among persons, and between humans and nature. Playful and incisive, Turner's book offers a way to engage the wisdom of Shakespeare in everyday life in a trenchant prose that is accessible to scholars and to the general reader. (shrink)

Donald Kuspit's The Cult of the Avant‐Garde Artist traces the therapeutic mission of modern art through its rise and decline into postmodern decadence. The problems Kuspit rightly finds in such artists as Warhol and Koons, however, are endemic to modernism itself: its diagnosis of bourgeois society as sick and in need of cure is fundamentally unsound. The modernist cure is, moreover, worse than the purported disease. What modernists call kitsch is, in many cases, a healthy, tragic view of life. And (...) while modernist metaphysics teaches the need for unmediated sensory experience and the inauthenticity of reproduction and representation, contemporary science shows these ideas to be without foundation. (shrink)