In this distinguished book, first published in 1984, Richard Wollheim offers an original approach to the philosophical understanding of a person. Countering prevailing theories on the nature of persons, Wollheim submits an account of the mind dynamically conceived and proposes that we take as fundamental the process of living as a person. To illuminate this process, the author draws on psychoanalysis and literature, in particular the case studies of Freud and the writings of Proust. 'Wollheim's is a very original and extremely interesting approach to the philosophy of the mind, bringing together three areas of reflection not often combined: the philosophy of mind, psychoanalyis, and ethics.' Bernard Williams, University of California, Berkeley 'There are only a few people who can write intelligently and insightfully about psychoanalysis and philosophy. Richard Wollheim is pre-eminent.' Jonathan Lear, University of Chicago Richard Wollheim was professor-in-residence and chair of the department of philosophy at the University of California, Berkeley. He is also the author of 'On the Emotions'.
One of the twentieth century’s most influential texts on philosophical aesthetics Painting as an Art is acclaimed philosopher Richard Wollheim’s encompassing vision of how to view art. Transcending the traditional boundaries of art history, Wollheim draws on his three great passions—philosophy, psychology, and art—to present an illuminating theory of the very experience of art. He shows how to unlock the meaning of a painting by retrieving—almost reenacting—the creative activity that produced it. In order to fully appreciate a work of art, Wollheim argues, critics must bring a much richer conception of human psychology than they have in the past. This classic book points the way to discovering what is most profound and subtle about paintings by major artists such as Titian, Bellini, and de Kooning.
A brilliant, sinuous exploration of family and childhood memory by one of the most original British philosophers of the twentieth century. Germs is about first things, the seeds from which a life grows, as well as about the illnesses it incurs, the damage it sustains. Written at the end of his life by Richard Wollheim, one of the major philosophers of the late twentieth century, the book is not the usual story of growing up and getting on but a brilliant recovery and evocation of childhood consciousness and unconsciousness, an eerily precise rendering of that primitive, formative world we all come from in which we do not know either the world or ourselves for sure, and things—houses, clothes, meals, parents—loom large around us, as indispensable as they are out of our control. Richard Wollheim’s remarkably original memoir is a disturbing, enthralling, dispassionate but also deeply personal depiction of a child standing, fascinated and fearful, on the threshold of individual life.
Leading philosopher Richard Wollheim recruits into service the insights of literature and of psychoanalysis, as well as of philosophy, in this rich and thought-provoking account of the emotions. Starting from the premise that emotions form a distinct psychological category, Wollheim argues that they are—like beliefs and desires—dispositions or underlying forces in the mind that erupt from time to time into the stream of consciousness. However, to assimilate emotions to beliefs or to desires or to some combination of the two is quite wrong. Emotions are attitudes or orientations to the world, says the author, and in this regard they are naturally associated with the imagination. The book considers what emotions are, how they arise in our lives, and how standard and "moral" emotions differ. Wollheim writes within the analytic tradition, yet decisively abandons a number of assumptions associated with that tradition and instead develops what he calls the psychologization, or repsychologization, of the emotions. Addressing repsychologization of the mind and its contents as a major theme, the author offers sustained discussion of the opinions of Sartre, William James, Freud, Melanie Klein, Stendhal, Montaigne, and Bertrand Russell.
This book is a biography of the life and work of Freud. It attempts to provide an analysis of the mind at work, and the story of a long and intricate process of discovery. This book takes the form of uncompromising analysis, but the author is in tune with the subject to the extent that the personality and feelings of Freud and his contemporaries emerges from this book.
The mind as it is manifested in philosophy and art, in the moral life and psychoanalysis, has always been at the core of Richard Wollheim’s celebrated work. This book brings together Wollheim’s broad and abiding concerns to illuminate human thought at its furthest reaches of introspection and expression. Interweaving philosophy, psychoanalysis, and aesthetics, these essays reveal the critical connections between ideas and disciplines too often regarded as separate and distinct.
This intellectual biography of Freud presents a fresh and thorough analysis of the whole body of his writings. Each of these is studied in its context, and their chronology is shown to be of great importance. The author demonstrates how Freud's exploratory and sometimes hesitant efforts to explain all that he discovered of mental abnormality are to be properly understood only in light of his quest for a general theory of the mind. This reissue contains a new Preface by Professor Wollheim that takes account of recent critical work on Freud.
Cutting across literature, film, art, and philosophy, Art of the Ordinary is a trailblazing, cross-disciplinary engagement with the ordinary and the everyday. Because, writes Richard Deming, the ordinary is always at hand, it is, in fact, too familiar for us to perceive it and become fully aware of it. The ordinary he argues, is what most needs to be discovered and yet is something that can never be approached, since to do so is to immediately change it. Art of the Ordinary explores how philosophical questions can be revealed in surprising places—as in a stand-up comic’s routine, for instance, or a Brillo box, or a Hollywood movie. From negotiations with the primary materials of culture and community, ways of reading "self" and "other" are made available, deepening one’s ability to respond to ethical, social, and political dilemmas. Deming picks out key figures, such as the philosophers Stanley Cavell, Arthur Danto, and Richard Wollheim; poet John Ashbery; artist Andy Warhol; and comedian Steven Wright, to showcase the foundational concepts of language, ethics, and society. Deming interrogates how acts of the imagination by these people, and others, become the means for transforming the alienated ordinary into a presence of the everyday that constantly and continually creates opportunities of investment in its calls on interpretive faculties. In Art of the Ordinary, Deming brings together the arts, philosophy, and psychology in new and compelling ways so as to offer generative, provocative insights into how we think and represent the world to others as well as to ourselves.
Although interest in the painter, poet, and art writer Adrian Stokes (1902&–1972) has been growing in recent years, Art and Its Discontents is the first biographical study of this pivotal figure in British modernism. Focused on Stokes's formative years, the book offers important new insights into his intellectual development, his growing commitment to the arts, and his eventual turn to the art criticism that would win him international renown. Even as Richard Read follows Stokes from his London childhood to his travels in Italy and his psychoanalysis with Melanie Klein, he weaves Stokes's experiences and writings into the great social and cultural issues of his era. Stokes's friendship with Ezra Pound is given its due, but Read balances his exploration of Stokes's modernist ideas with detailed discussion of his profound debt to the teachings of John Ruskin and Walter Pater. Seen in this broad perspective, Stokes emerges as a thinker who bridged Victorian and modernist cultures and renewed the British tradition of aesthetic criticism.
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