Nathalie Carnes takes a fine selection of concrete examples from different times and cultures to show that material objects, icons, images, and art can be a natural extension of Christian worship. Through the incarnation and its continuation, they can carry a set of meanings that enhance and clarify the liturgy and make it a sensory reality in complementary ways.

Schiller develops a Leibnizian sense of perfection as the unity of unity and multiplicity, and draws out its political implications. He defends a republican order of spontaneous beauty, emergent in freedom, against imposed perfection. In addressing the problems of the incipient modern division of labour and the prospects for political community, he defends variety against uniformity, while distinguishing historically progressive from regressive types of diversity. Schiller insists on processes of aesthetic self-formation and determinability, which make possible a mutual adjustment of interests as an achievable practical outcome, rather than as a metaphysical presupposition. Interests in modern civil society are diverse and troublingly fragmentary, but potentially reconcilable.

Examines the relationship between clothing and beauty, especially given the link between clothing and fashion and the importance of function. Considers under which circumstances clothing might be thought of as art.

This chapter offers Elena Ferrante’s four-novel work L’amica geniale as a challenge to what Rancière calls the contemporary “ethical turn” that imagines an unchanging and traumatic world to which we must submit; it finds a precedent for the optimism emerging out of Ferrante’s run-on sentences in Auerbach’s reading of fifteenth-century Burgundian realism.

This chapter discusses the role of Imelda Marcos in the diplomatic practice and foreign policy of the government of Ferdinand Marcos. At the outset, Imelda is cast not only as a First Lady but as a vital colleague and co-operator in running the affairs of the Philippine state from the 1960s through the 1980s, the other half of the so-called conjugal dictatorship. At one point in time, she was simultaneously governor of Metro Manila, Minister of Human Settlements, member of the Interim Parliament, and Ambassador Plenipotentiary and Extraordinary. This being said, her status as First Lady and Patroness of the Arts is not dismissed as mere tangent or appendage; it was as First Lady that Imelda became a compelling presence in the political theatre. The combination of her beauty and her charisma formed a particular aesthetic that inevitably evolved into a policy of culture and democracy so central in the formation of a post-independence nation-state in Southeast Asia.

In Hopkins’s writing, eroticism centres on eros or amor and loving the body of Christ. In the framework of Hopkins’s spiritual eroticism, eros or amor is love. Understanding the significance of love and the body in Hopkins’s writings – his poems, sermons, spiritual writings, diaries, essays, and letters – allows us to come to a fuller understanding of his relationship with Christ. Hopkins’s vow of celibacy afforded him the freedom to express his passion for Christ through romantic and sexual tropes such as touching hands, melting and merging subjects, beating hearts, magnetic attraction, mutual gazes, kisses, embraces, fecundity, and homecoming. We shall look at some of these tropes in this chapter, many of which can be traced back to ancient Greece and the early church fathers. Ultimately, Hopkins wrote about erotic desires and tactile pleasures in a manner that was broad and expansive.

This chapter explores Hopkins and rhyme: both his views on the subject and his practice as a poet. It considers Hopkins as an artist caught between two conceptions of rhyme that stood in tension with one another. In the first view, rhyme is a metaphor for thinking about questions of cosmic design and coherence, and hence carries philosophical weight, and a religious and ethical charge. In the second, rhyme is aligned with pleasure and beauty, and needs to be disciplined and harnessed if it is not to be decadent or self-indulgent. The chapter considers Hopkins’s observations and pronouncements on the subject of rhyme in his letters and lectures and compares and contrasts them with the evidence of his poems, in which he often breaks his own rules. The chapter argues that Hopkins needed to be in more than one mind about rhyme in order to write the way he did.

While in his major works – the Treatise, Enquiries, History of England, and writings on religion – Hume makes observations about ‘art’ and ‘the arts’ and refers to subjects that fall under the then nascent discipline of ‘aesthetics’, these appear tangentially, in the course of pursuing other matters; only in the Essays does he address these subjects directly and in sufficient detail to warrant his inclusion among figures who have made an original contribution to ‘philosophical aesthetics’ and its history. With these observations in mind, this chapter provides a systematic presentation of Hume’s views as he develops them in the ‘aesthetic essays’, where he engages in contemporary debates on various topics – ‘Of the Delicacy of Taste and Passion’, ‘Of Eloquence’, ‘Of Simplicity and Refinement in Writing’, ‘Of Tragedy’, and ‘Of the Standard of Taste’ – as well as in others where he either treats the arts historically (‘Of the Rise of the Arts and Sciences’) or as an element of political economy (‘Of Commerce’ and ‘Of Refinement in the Arts’). The discussion proceeds thematically, organizing his thought under the headings of ‘taste and its standard’, ‘literary style and artistic representation’, ‘the paradox of tragedy’, and, finally, ‘a history and political economy of the arts’.

This chapter contrasts the approach to nature taken by Alexander von Humboldt and Hegel. In particular, it focuses upon the notion of Naturphilosophie and how it is developed in the work of both thinkers. It gives details from the work of Schiller, Goethe, and Schelling in order to provide historical context to the discussion. To clarify some of the contrasts between Humboldt’s and Hegel’s approaches to nature, the chapter focuses upon their approaches to the landscape and people of America. The fate of natural beauty in the work of both thinkers is highlighted. It argues, by reference to Adorno’s critique of Hegel, that while Humboldt gives natural beauty autonomy by not limiting it to what the subject contributes to it, Hegel’s view of nature is as repressed natural beauty, eclipsing it with human reason and human subjectivity. Ultimately, Humboldt’s more empirical approach, balanced with a recognition of the role of freedom, allows nature to come into clearer focus than it does in Hegel’s work. Hegel’s more abstract, speculative approach keeps nature too far from the empirical realm. In the case of our understanding of nature, Hegel’s clean hands become a problem, resulting in a Naturphilosophie that does not bring us close enough to nature or its beauties.

Beauty does not rest in the forms we encounter it, or match with the idea we have of it. Ludwig Wittgenstein writes that ‘when the eye sees something beautiful, the hand wants to draw it’. Beauty happens in this difficult gulf between hand and eye, between eye and ear. This essay asks how the novel of ideas might approach the problem of beauty, by attending to the dialogue between Zadie Smith and E. M. Forster, as it is conducted in Smith’s 2006 novel On Beauty. In staging her novel as a reprise of Forster’s Howards End, Smith suggests that the artwork is bound up with the question of duplication, as beauty, in Elaine Scarry’s terms, ‘brings copies of itself into being’ (Elaine Scarry). Beauty eludes the critical gaze; but in the ground that lies between On Beauty and Howards End, this essay looks for a kind of critical language and a kind of political institution in which the idea of beauty might find expression.

This chapter returns to some central questions about value and valuing, including questions of intrinsic value and the distinction between values and preferences. It argues for value pluralism and discusses specifically prudential values, cultural values, aesthetic values, and natural values. Prudential values are those that relate to an agent’s own interests; cultural values are those that take artifacts or expressions as their objects; aesthetic values include beauty, but also other features such as the sublime; natural values are those that arise from nature’s autonomy. These and other values can conflict. Resources are available for resolving or reducing some value conflicts, but others are at least in practice unresolvable.

The Japujī is Guru Nanak’s foundational hymn. Its thirty-eight stanzas are symmetrically set within a prologue and an epilogue. Seven vital aspects of Guru Nanak’s transcendent aesthetics emerge in this inaugural Guru Granth Sahib hymn: (1) aesthetic agents (panc) who invite audiences to join them on a spiritual excursion; (2) aesthetic keynote, the transcendent Nanakian material (mūlmantra); (3) the aesthetic thirty-eight stairsteps (pauṛis) leading to ever new vistas; (4) the aesthetic realm (saram khanḍ) where epistemic faculties are honed; (5) aesthetic disclosures of the ontological design (hukam) in the writing of this multiverse (lekhā) by the look of love (nadar); (6) aesthetic productions of truth (sat), beauty (suhāṇu), and enduring joy (sadā mani cāo) which reproduce an ethics of joy – singing (gāviai), listening (suniai), embracing (maniai), and loving (manu rakhiai bhāo); (7) an aesthetic epilogue, a scene capturing everyday aesthetics – the whole world playing together with night and day as the midwives and caretakers. Guru Nanak’s consummate composition fulfills Luce Irigaray’s desire that transcendence is a bodily realization here and now.

At the close of Proust’s A La recherche, Marcel reflects on his late discovery that there is within him a ‘vast dimension’ of lost time, composed of moments that ‘still adhered to me and that I could still find again, merely by descending to a greater depth within myself’. The vehicle through which he is to achieve that descent, he thinks to himself, is the novel itself, the novel he is now to write.

A la recherche is, for this reason, a novel which demands to be reread, a novel which reveals the structural necessity of rereading that inhabits all acts of being in time. This essay responds to this demand, and this necessity, by reading Proust’s novel as an exercise in rereading. The epiphanic close to the novel rests on the conviction that there will come a form of writing, and a form of reading, that might absorb lost time into itself, and in so doing stage a recovery of a spent past, and of a spent life. But in calling in this way for its own repetition, the novel can only live, again, through the loss that it seeks to overcome. This inescapable play between recovery and loss, though, does not constitute a failure of the hope that the novel seems, on each reading, to rediscover. Rather, in inserting a logic of rereading into its own expressive mechanism, the novel becomes a scale for weighing those elements of time that are recoverable against those that are not. It allows us to see the novel as a differential machine, that can find the junction, in the contemporary moment of reading, between that which can be saved and that which cannot – the junction that is the horizon, in our own time, of literary, political and personal possibility.

Beauty does not rest in the forms we encounter it, or match with the idea we have of it. The young Karl Marx writes that ‘the eye’s object is different from the ear’s’, and Ludwig Wittgenstein, that ‘when the eye sees something beautiful, the hand wants to draw it’. Beauty happens in this difficult gulf between hand and eye, between eye and ear. This essay approaches the problem of beauty through the dialogue between Zadie Smith and E. M. Forster, as conducted in Smith’s 2006 novel On Beauty. In staging her novel as a reprise of Forster’s Howards End, Smith enacts the taking place of the artwork in the duplications it urges on us, as beauty ‘brings copies of itself into being’ (Elaine Scarry). Beauty eludes expression; but in the ground that lies between On Beauty and Howards End, this essay looks for a kind of critical language and a kind of political institution in which the idea of beauty might find expression.

Oscillations between members of flavoured, electrically neutral meson pairs and the CP violation are phenomena strictly connected with the mixing. However, CP is more general, having been observed also in the decay of charged mesons.

CP violation was first observed in the neutral K system. We see the states of definite strangeness, those of definite CP and those with definite mass and lifetime. The oscillation between the former states, the mathematical expressions and the experimental evidence.

The oscillations and CP violation in the B0 system, and the beautiful experimental results obtained at dedicated high-luminosity electron–positron colliders, the ‘beauty factories’. Beauty physics at the dedicated experiment LHCb at LHC, in particular for the B0, that is not accessible to beauty factories. Examples of CP violation in B0. The recent discovery of CP violation in the charm sector.

How the many different measurements can be put together to test the SM with the unitary triangle.