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This 1986 book tackles the large and difficult but relatively unexplored topic of how Shakespeare viewed his own craft and creativity. What was his sense of prosody, imagery, poetic structure, and invention? Did he have specific views on acting, the purposes of drama, the unities and audience participation? Was there a conscious theoretical basis to his creation of dramatic personae? What did he think of artistic in relation to natural creativity? Shakespeare's Poetics is a full-length study of this subject. The author charts all its available aspects, and concludes that Shakespeare's idea of poetics occupied a place among contemporary theories which was surprisingly advanced, differing widely from mainstream Renaissance criticism and falling in line with the foremost thinking of the age.

Is it body or spirit that makes us appreciate beauty and create art? The distinguished Canadian critic Ekbert Faas argues that, with occasional exceptions like Montaigne and Mandeville, the mainstream of western thinking about beauty from Plato onwards has overemphasised the spirit, or even execrated the body and sexuality as inimical to the aesthetic disposition. The Genealogy of Aesthetics redresses this imbalance via a radical re-reading of seminal thinkers like Plato, Augustine, Kant, Hegel, Marx, Heidegger and Derrida. Professor Faas attacks both the traditional and postmodern consensus, and offers a new pro-sensualist aesthetics, heavily influenced by Nietzsche, that draws on contemporary neo-Darwinian cognitive science. A work of both polemic and considerable learning, The Genealogy of Aesthetics marks a radical new departure in thinking about art, of interest to all serious students of the humanities and cognitive sciences, which no future work in this field can afford to