Paul Crowther

BA, MA, D.Phil. (Oxon)

Paul Crowther is from Leeds in northern England, and grew up in the Belle Isle estate and Middleton areas of that city. He did his BA in Philosophy and the History of Art at Leeds University, and an MA in Philosophy at the University of York. He took a Cert. Ed in Classical Studies at Cambridge, and was awarded a D.Phil on Kant's theory of the sublime by the sub-Faculty of Philosophy at Oxford University.

He taught Art History at the University of St. Andrews for many years, and then at Oxford, where he was an Official Fellow of Corpus Christi College. After holding a Chair in Philosophy at the Centre for Professional Ethics in the University of Central Lancashire, he taught in Germany as Professor of Philosophy and the Visual Arts at Jacobs University Bremen. He took up the established Chair in Philosophy at NUI, Galway in 2009

Paul Crowther's main research interests are philosophy of art and culture (especially visual aesthetics and phenomenological approaches), dialectical logic and metaphysics, Kant’s epistemology and aesthetics, Hegel’s aesthetics, and Cassirer.  He is presently curating 'Enabling Beauty' - a major exhibition of Victorian drawings and paintings which will be held at the National Gallery of Slovenia, Ljubljana, from September 2014 to January 2015. His further international commitments include extensive work with a  network of scholars who specialize in abstract art; and a programme of on-site visual studies in Europe and north America for a work-in-progress on the phenomenology of architecture.

Contact details:

• E-Mail: paul.crowthernuigalway.ie
• Office: Room 102, Philosophy Dept (Morrisroe House, 19 Distillery Rd)
• Phone: 353 (0)91 494097

Teaching

1st year: Introduction to the History of Philosophy
2nd year: Topics in Continental Philosophy
3rd year: Readings in Phenomenology
Structured PhD course: Phenomenology of Art and Culture

Selected publications

Monographs

The Kantian Aesthetic: From Knowledge to the Avant-Garde, Oxford University Press, 2010, pp. 209

Phenomenology of the Visual Arts (even the frame), Stanford University Press, Stanford, 2009, pp.264

Defining Art, Creating the Canon: Artistic Value in an Era of Doubt, Oxford University Press, Oxford , 2007, pp.268

Philosophy After Postmodernism: Civilized Values and the Scope of Knowledge, Routledge Studies in Twentieth-Century Philosophy, London, 2003, pp.235

The Transhistorical Image: Philosophizing Art and its History, Cambridge University Press, Cambridge, 2002, pp.207

The Language of Twentieth-Century Art: A Conceptual History, Yale University Press, New Haven and London, 1997, pp. 251. Chinese translation, Jilin Press, Jilin, 2007, pp.237
            
Art and Embodiment: From Aesthetics to Self-Consciousness, Oxford University Press, Oxford, 1993 pp. 210,
           
Critical Aesthetics and Postmodernism, Oxford University Press, Oxford, 1993, pp. 214

The Kantian Sublime: From Morality to Art, Oxford Philosophical Monographs No. 1, Oxford University Press, Oxford, 1989, pp. 178.

Phenomenologies of Art and Vision: A Post-Analytic Turn, Bloomsbury Studies in Philosophy; London and New York,  2013  

The Phenomenology of Modern Art: Exploding Deleuze, Illuminating Style Continuum, London and New York, 2012

Edited Works

Meanings of Abstract Art: Between Nature and Theory, co-edited with Isabel Wunsche, Routledge Advances in Visual Studies, 2012

Aesthetics, Imagination, and the Unity of Consciousness by R.K. Elliott; edited and introduced by Paul Crowther, Ashgate, 2006.

Recent papers

’Ontology and Aesthetics of Digital Art’, Journal of Aesthetics and Art Criticism, Vol. 66 (2), 2008, pp. 161–170
 
’Pictorial Space and the Possibility of Art’, British Journal of Aesthetics, Vol. 48: 2008, pp. 175-192

’Space, Place, and Sculpture: Working with Heidegger’, Continental Philosophy Review, June 2007, pp. 151-170

’Painting, Abstraction, Metaphysics; Merleau-Ponty and the “Invisible”, Symposium, Vol.8 No.3, 2004, pp 633-646

’Defining Art, Defending the Canon, Contesting Culture’, British Journal of Aesthetics, Vol.44, No. 4, 2004, pp.361-377

’Cultural Exclusion, Normativity, and the Definition of Art’, Journal of Aesthetics and Art Criticism, Vol.61, No.2, 2003, pp.121 – 131

’Narrative and Self-Consciousness: A Basis for Virtue Ethics’, Journal of Value Inquiry, Vol.36, No 4, 2003, pp. 435-443

’The Dangers of Postmodernity: A Philosophical Response, Filozofski Vestnik, Vol. XX11, No. 2, 2001, pp. 43-58

’Imagination, Language, and the Perceptual World: A Post-Analytic Phenomenology, Continental Philosophy Review (forthcoming)

’A Rediscovered Contemporary Full-Length Sketch-Portrait  of Schopenhauer by Frederic, Lord Leighton’ (with M.Cuzman)
Schopenhauer-Jahrbuch, 92 Band, 2011, pp. 301-306
 
’Post-Analytic Phenomenology of Painting: Merleau-Ponty and Beyond’ Aesthetic Pathways, Vol.1 No.1, 2010, pp.79-98

’Cultural Exclusion, Normativity, and the Definition of Art’ (originally published in 2003) - anthologized in Czech translation in ' Co Je Umeny? Texty angloamericke estetiky 20 stoleti.' [What is Art? Texts in Twentieth-Century Angloamerican Aesthetics] ed. D. Ciprianov and T. Kulka,  Edice Estetika, Karlovy Vary, 2010

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