Always fascinated in his poetry by the nature of color and light and the power of the image, Bonnefoy continues to pursue these themes in his discussion of the lure and truth of representation. He sees the painter as a poet whose language is visual, and he seeks to find out what visual artists can teach those who work with words.

The question posed by Herman Rapaport, in the title of this book, is intended both seriously and ironically. It is not Rapaport's purpose to debate whether or not truth resides in art. The title points rather to his belief that truth needs to be reconceptualized in the light of continuing efforts to deconstruct and to discredit the notion of truthfulness in art. The question of art's truthfulness persists because truth in art is neither an entity or content that has been injected into the work, nor a transcendental concept or ground that exists outside it. Moreover, when used in relation to art, Rapaport says, truth means something quite different from conventional definitions of the term. Indeed, a central question that informs the book is the return of truth at the far side of its deconstruction. Is There Truth in Art? includes chapters on atonal music, environmental art, modern German and French poetry, contemporary French fiction, experimental French film, and a photograph taken by the National Socialists during the destruction of the Warsaw ghetto. Determining how truth can be said to occur in these examples, Rapaport maintains, requires analysis in each instance. He draws chiefly upon the thinkers who have radically reformulated questions about truth—Nietzsche, Heidegger, Derrida, and Levinas—and uses their writings to explore the works under analysis.

Traditional philosophy places a singular emphasis on tragedy, acting under the assumption that tragedy is more profound than comedy. Gelven argues that comedy deserves equal if not greater attention from philosophy. Through the interpretative readings and concrete analysis of three classical works, Gelven shows that comedy provides an access to truth unavailable by any other means. Silvius in Shakespeares's As You Like It, Cherubino in Mozart's The Marriage of Figaro, and Lord Goring in Wilde's An Ideal Husband are examined in terms of why and how they are comic, along with how and why they are seen both as fools and yet as graced. Gelven finds that in revealing the spirit of graced folly, comedy teaches us about our own essence, the fundamental nature of our finitude. This will undoubtedly be of considerable importance not only to philosophical aestheticians or literary critics, but also for those seeking to understand the nature of truth itself.

'Is There Truth in Art?' includes chapters on atonal music, environmental art, modern German and French poetry, contemporary French fiction, experimental French film, and a photograph taken by the National Socialists during the destruction of the Warsaw ghetto.

Fictionalism confronts the dual epistemological nature of education. In this book, Johan Dahlbeck argues that all education, at bottom, concerns a striving for truth initiated through fictions. This foundational aporia is then interrogated and made sense of via Hans Vaihinger’s philosophy of ‘as if’ and Spinoza’s peculiar form of exemplarism. Using a variety of fictional examples, Dahlbeck investigates the different dimensions of educational fictionalism, from teacher exemplarism to the basic educational fictions necessary for getting started in education in the first place. Fictionalism will be a valuable resource for anyone interested in the philosophical foundations of education.

Truth is in trouble. In response, this book presents a new conception of truth. It recognizes that prominent philosophers have questioned whether the idea of truth is important. Some have asked why we even need it. Their questions reinforce broader trends in Western society, where many wonder whether or why we should pursue truth. Indeed, some pundits say we have become a "post-truth" society. Yet there are good reasons not to embrace the cultural Zeitgeist or go with the philosophical flow, reasons to regard truth as a substantive and socially significant idea. This book explains why. First it argues that propositional truth is only one kind of truth—an important kind, but not all important. Then it shows how propositional truth belongs to the more comprehensive process of truth as a whole. This process is a dynamic correlation between human fidelity to societal principles and a life-giving disclosure of society. The correlation comes to expression in distinct social domains of truth, where either propositional or nonpropositional truth is primary. The final chapters lay out five such domains: science, politics, art, religion, and philosophy. Anyone who cares about the future of truth in society will want to read this pathbreaking book.

Why do you believe what you believe? You’ve been lied to. Probably a lot. We’re always stunned when we realize we’ve been deceived. We can’t believe we were fooled: What was I thinking? How could I have believed that? We always wonder why we believed the lie. But have you ever wondered why you believe the truth? People tell you the truth all the time, and you believe them; and if, at some later point, you’re confronted with evidence that the story you believed was indeed true, you never wonder why you believed it in the first place. In this incisive and insightful taxonomy of lies and liars, New York Times bestselling author Aja Raden makes the surprising claim that maybe you should. Buttressed by history, psychology, and science, The Truth About Lies is both an eye-opening primer on con-artistry—from pyramid schemes to shell games, forgery to hoaxes—and also a telescopic view of society through the mechanics of belief: why we lie, why we believe, and how, if at all, the acts differ. Through wild tales of cons and marks, Raden examines not only how lies actually work, but also why they work, from the evolutionary function of deception to what it reveals about our own. In her previous book, Stoned, Raden asked, “What makes a thing valuable?” In The Truth About Lies, she asks “What makes a thing real?” With cutting wit and a deft touch, Raden untangles the relationship of truth to lie, belief to faith, and deception to propaganda. The Truth About Lies will change everything you thought you knew about what you know, and whether you ever really know it.

Gadamer’s Truth and Method: A Polyphonic Commentary offers a fresh look at Gadamer’s magnum opus, Truth and Method, which was first published in German in 1960, translated into English in 1975, and is widely recognized as a ground-breaking text of philosophical hermeneutics. The volume features essays from fourteen scholars—both established and rising stars—each of which cover a portion of Truth and Method following the order of the text itself. The result is a robust, historically and thematically rich polyphonic reading of the text as a whole, valuable both for scholarship and teaching.