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In this dissertation I examine the forms and possibilities of truth-speaking in contemporary Italian news and media industry. I ask the following questions: 1) What does an Italian contemporary journalist need to do in order to be acknowledged as a truth-teller? 2) How does technological innovation, and in particular portable video-technology, influence self-reflexivity? 3) What kind of relation to the political present does truth-telling enable? I assume Italy's news and media industry as a "case-study" rather than as a self-enclosed field because my focus is on a problem rather than on a "culture". The approach followed in this dissertation is thus a conceptual one: rather than highlighting the Italian cultural specificity, I seek to conceptually articulate problems in news and media that, while more manifest in Italy, belong to contemporary news and media industry per se. Approaching Italian journalism as a "case-study" enables the author to address a more general topic: the transformation of contemporary forms of self-reflexivity in the sway of technological and political change, and, in particular, of that quintessential form of self-reflexivity that is truth-speaking. Since I adopt a conceptual approach, I explore, where I find it necessary, "cases" seemingly "far away from the field", such as the semiotics of all-news channel Aljazeera's website (Chapter II); the ethics of BBC's treatment of the Libyan revolution (Chapter III); or the use of portable media in the Libyan revolution itself (Chapter IV). Every chapter focuses on a specific aspect of truth-speaking: its relation to self-reflexivity, to economy, to technology, and to aesthetics.

Chapter 1. Introductory remarks. When did we start caring about digital aesthetics? -- Chapter 2. The Aesthetics of Consumer Tech -- Chapter 3. Digital aesthetics in the public sphere -- Chapter 4. The digital undemocratic: dazzling expectations vs disappointing outcomes -- Chapter 5. Re-conceptualizing the aesthetics of digital democracy.

Highlights the important contribution Stoic philosophy made to aesthetics

Shows that this is a largely unexplored area of interest to scholars of both ancient philosophy and aesthetics
Analyses material to show that there is a coherent and substantial attempt at systematic enquiry into aesthetic phenomena
Discusses how Stoic ideas could enhance our understanding of ancient aesthetics and even contribute to contemporary aesthetics

Aistė Čelkytė shows us that Stoic views about beauty were substantial and compelling. She examines the ways in which the Stoics used aesthetic vocabulary in their arguments to demonstrate that aesthetic concepts played an important role in their philosophy.
Čelkytė argues that understanding the Stoic's aesthetic views allows us to interpret their famous account of virtue more thoroughly. She also explores the place that Stoic aesthetics has within the broader ancient Greek and Roman tradition, highlighting the value of incorporating Stoic views in the discussions of aesthetic properties and values.

The confluence between body, violence and society reveals a link between the profane and the sacred in the rituals of death. Given these coordinates, this text gives a few brushstrokes to understand the forms of human violence in which the victim body is the scene of barbarism, macabre and excessive, expressed in a contemporary tanatobiopolitical project linked to torture, vexation And hatred in bodies. Aesthetics of cruelty and death manifested in the history of forms of violence in Latin American society. ; La confluencia entre cuerpo, violencia y sociedad pone de manifiesto un vínculo entre lo profano y lo sagrado en los rituales de la muerte. Atendiendo a estas coordenadas, este texto da algunas pinceladas para comprender las formas de violencia humana en las que el cuerpo-víctima es el escenario de la barbarie, lo macabro y lo desmedido, expresado en un proyecto tanatobiopolítico contemporáneo ligado a la tortura, la vejación y el odio ejercidos en los cuerpos. Estéticas de la crueldad y la muerte puestas de manifiesto en la historia de las formas de violencia en la sociedad latinoamericana. ; A confluência entre corpo, violência e sociedade revela um elo entre o profano e o sagrado nos rituais da morte. Com base nessas coordenadas, este texto fornece algumas pinceladas para entender as formas de violência humana nas quais a vítima-corpo é cenário de barbárie, o macabro e o excessivo, expressados em um projeto tanatobiopolítico contemporâneo vinculado à tortura, vexação e ódio exercido nos corpos. A estética da crueldade e da morte revelada na história das formas de violência na sociedade latino-americana.

If poetry is the verbal art of beauty, and beauty is truth, then, poetry has its own truth which is universal by nature since the poetic patterns embody a particular vision of the universe. This universal truth is encoded in poetic image. The poet who creatively used the poetic image to express his aesthetic vision is Nizar Kabbani (1923- 1998). The study aims at exploring the development of the notion of beauty as structured in the modern Arab poetic works. It aims at investigating Kabbani's poetic imagery in its amorous-erotic aspects. The study proceeds with the hypothesis that the modern love poet's synesthetic imagery is an impressive representation of Kant's aesthetic axioms as encoded in his Critique of the Aesthetic Judgment. The scope of the inquiry focuses upon the love lyrics and songs of the modern Arabic love poet regardless his political writings. Kabbani's poetics is investigated in terms of Aesthetic Cultural Approach (ACA), a critical orientation that links the cultural patterns of meaning to the aesthetic structures of the poem. Of the seminal findings of the study is that Kabban's love poems are pleasurable moments in which the body of the beloved becomes the source of the poet's ecstasy and joyfulness.

In order to study the relationship between the characteristics of visual aesthetics in China today and sociology, the importance of cultural symbols is discussed. The appearance of aesthetics is not entirely theoretical isolation. It is the result of "confrontation" with political ideology in the field of artistic self-discipline and aesthetic independence. Therefore, aesthetics are not only a framework system that is limited to aesthetic and experiential subjects, but also lies in the history of the exploration of modern Chinese aesthetics. From an external point of view, sociological vision and political ideological confrontation constitute the formation mechanism of visual aesthetics. From an inner point of view, the pedigree of aesthetics from the classical Chinese to the western modern constitutes the two major fulcrums of discipline construction. From sociological appeals to knowledge resources, visual aesthetics build a brand new Chinese aesthetics. In addition, it gained the legitimacy of its own existence and the value of history-oriented motivation.

Better Consciousness: Schopenhauer's Philosophy of Value reassesses Schopenhauer's aesthetics and ethics and their contemporary relevance.: Features a collection of new essays from leading Schopenhauer scholars; Explores a relatively neglected area of Schopenhauer's philosophy; Offers a new perspective on a great thinker who crystallized the pessimism of the nineteenth century and has many points of contact with twenty-first century thought

En este texto desarrollaré cómo la violencia actualiza cronologías concretas del Capital, al mismo tiempo que un "estado de excepción" de palabras mediadas por la esperanza. Frente al drama histórico sobre la naturaleza y culturas-simbólicas colonizadas por el fetiche del dinero, subrayaremos cómo laconscienciae inconsciencia, miedos y esperanzas implícitos en problemáticas alienadas de la pandemia, son parte constituyente de las ruinas provocadas por el sistema formal, integro, estructural y funcional del trabajo abstracto en identidades indígenas y nacionalismos; valor y fetichismo de la mercancía y el dinero. Insistiremos cómo aspiraciones en tiempos largos de la historia portan en cuerpos y subjetividades una crítica a la violencia del trabajo abstracto. Destacaremos cómo sensibilidades en poesías, leyendas y tradiciones del arte de la palabra engendran cualidades memoriales para la producción de espacios alternativos. En un dialogo con espectros de la tradición crítica, notaremos cómo espiritualidades del tiempo teológico se renuevan contra tiranías en estos tiempos oscuros defe en el ídolo-progreso-dinero-muerte militarizado.Por esto, para ir más allá de repeticiones catastróficas pre-post-des-colonialistas, lo Mismorevolcado por los reformismos del momento, los indígenas zapatistas se embarcan en una alta montaña de altamar,pero a contracorriente, otra vez, de nuevas normalidadescapitalistas. ; In this text will be developed how violence actualizes concrete chronologies of Capital at the same time that a " state of exception " of words mediated by hope. In the face of the historical drama concerning nature and symbolic-cultures colonized by the fetish of money, it will be underlined how the consciousness and unconsciousness, fears and hopes implicit in the alienated problematics of the pandemic, are a constituent part of the ruins provoked by the formal, integral, structural and functional system of abstract labor in indigenous identities and nationalisms; value, merchandise fetishism, and money. It will be emphasized how aspirations in long times of history contain in entities and subjectivities a critique against the violence of abstract labor. It will be highlighted how sensitivities – in poetry, legends and traditions of the art of the word– create memorial qualities for the production of alternative spaces. In a dialogue with specters of the critical tradition, we will note how spiritualities of the theological time are renewed against tyrannies in these dark times of faith in the militarized idol-progress-money-death. Thus, in order to go beyond catastrophic pre-post-des-colonialist repetitions, the same thing examined by the reformisms of the moment, the indigenous Zapatistas embark on alta montaña de altamar, but once again, counter-current to new capitalist normality.

The current thesis examines John Mc Grath's theatrical activities as a playwright, as a director or as a theoretician, between 1958 and 1991. It estimates the etthical dimension of the intervention of the playwright, and the aesthetical implications of his wish to communicate with popular audiences. It inevitably questions the value of such concepts as : political theatre, parallel or fringe theatre, "Ceilidh-plays", interventionist theatre, carnival theatre. It situates John Mc Grath's works within national and international heritages. A contemporary bias will inevitably try and appreciate the validity and developments of two tools, privileged in the study of the activities of the playwright: sociology and semiotics. The questions of modernism and post-modernism, of short-lived and lasting works, of distanciation and identification, of universality and contextualisation inevitably arise out of a study whose key object is the process of creating and communicating, from writing to staging, with audiences who have usually been enstranged from official theatres. Epic, John Mc Grath's specific art of writing and staging has first been rooted in the regional cultures of liverpool and the industrial areas in the north of england, before reflecting the diversity of the popular traditions in scotland. Innovating in designing the aesthetical shapes of a theatrical contribution to the moves of contemporary societies, john mc grath allows us to consider the survival of his works and of those theatrical trends which ground their activity on the key place granted to history ; La présente thèse examine l'activité théâtrale de John Mc Grath, comme auteur, metteur en scène et théoricien, entre 1958 et 1991. Elle évalue la dimension éthique de l'intervention de l'auteur et les implications esthétiques de sa volonté de communiquer avec un public populaire. Elle interroge nécessairement la validité de concepts tels que : théâtre politique, théâtre parallèle ou "Fringe", "Ceilidh-plays", théâtre interventionniste, théâtre ...