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本文是關於泰國導演阿比查邦·魏拉希沙可在2000 年至2010 年間作品的整體性研究,包括電影、短片和錄影裝置等不同形式。我們將討論阿比查邦的現代主義電影風格如何回應當下泰國的社會政治現實和歷史處境,並產生其文化政治效應。同時,我們也試圖借此重申和強調電影的美學研究在把握作品形式與外在歷史社會條件上的融貫性和理論重要性,尤其是在以時間為現代思想和經驗的內在線索這點上。 ; 首先我們將阿比查邦置於世界電影史和泰國電影史交匯的座標之下,然後從個三方面考察他如何將泰國的"非同步"、複調節奏的社會現實納入對"非順時性時間"探索(與戰後現代主義電影的譜系一致)的美學風格中。第一個方面,是他在早期作品中關於"講故事"形式的實驗,據此他發展出一種新的敘事性,打破傳統敘事中統一的"敘述時間",而替代以一種"居中性"的"時差"效應;同時發展出對分離的聲畫關係的各種新嘗試。第二個方面,是他中期作品中對感性經驗的重塑,包括引入異質化多元的時延、非個人知覺和情感模式。第三個方面,是貫穿電影長片和錄影裝置作品的"分叉"結構(或二分結構)。通過這一結構,他引入對時間性三維(過去現在未來)的靜態綜合和重新分配,即,將編年歷史的順時時間內攝於各種元素差異與重複建立起的超歷史(或非歷史)的時間分化;無論是過去還是當下的事件,都被體驗為一種對先在的純粹的事件如同儀式一般的召喚。這正是阿比查邦式的非歷史性的時間觀念和神話式敘述機制。同時,每一個方面都包含了阿比查邦在相應的作品中處理回應的泰國社會現實問題,將在論文中詳細展開。 ; This dissertation has three ambitions. The first is to provide an interpretation of the works by Apichatpong Weerasethakul in the 2000s as an auteur study, including feature films, experimental shorts, and video installations, which requires a new vision for film criticism for the compelling mode of filmmaking practice. The second is to discuss the social-political function of the modernist cinema in a contemporary society with specific historical trajectory of modernity, by investigating how Apichatpong's works relate/respond to Thai historical-social-politic circumstance. The third is to make an argument for the theoretical importance of aesthetics study of cinema in the light of the concern for time that is intrinsic to both thought and being and underlies modern experience. ; By locating Apichatpong in the junction of global and local cinema with historical contextualization, this study will unfold around how Apichatpong registers the polyrhythm of the "non-synchronicity" of contemporary Thai reality on his artistic innovative of the non-chronological temporality in three main parts. The first is the "storytelling device" which creates a new narrativity by transforming the "diegetic time" into a pure "time-lag" or "in-between" with an experiment of the disparity of sound and image. The second is a reconfiguration of the sensible, which consists of heterogeneity of ...

Grounds the constitutive ambiguity of literary scholarship through an exploration of Szondi's reading of Hegel. The essay on Hegel's Theory of Literature interrogates Szondi's "troubled relationship" between the study of literature & philosophy. The author does not treat Szondi's approach as a particular methodological shortcoming of Germany in the 1960s, but invokes the distance between Plato & Aristotle as a reference point to trace Szondi's reading of Hegel's aesthetics. Szondi is concluded to be a legitimate member of the tradition of 20th-century neo-Hegelian aesthetics, but argues that the critic's hermeneutic exploration is a different dialectic of form and history from Adorno's critical aesthetics of progressive or avant-guard innovation. References. J. Harwell

"This volume re-examines traditional interpretations of the rise of modern aesthetics in eighteenth-century Britain and Germany. It provides a new account that connects aesthetic experience with morality, science, and political society. In doing so, the book challenges longstanding teleological narratives that emphasize disinterestedness and the separation of aesthetics from moral, cognitive, and political interests.
The chapters are divided into three thematic parts. The chapters in Part I demonstrate the heteronomy of eighteenth-century British aesthetics. They chart the evolution of aesthetic concepts and discuss the ethical and political significance of the aesthetic theories of several key figures, namely the third Earl of Shaftesbury, David Hume, and Adam Smith. Part II explores the ways in which eighteenth-century German thinkers examine aesthetic experience and moral concerns and relate to the work of their British counterparts. The chapters here cover the work of Kant, Moses Mendelssohn, Alexander Gottlieb Baumgarten, and Madame de Staël. Finally, Part III explores the interrelation of science, aesthetics, and a new model of society in the work of Goethe, Johann Wilhelm Ritter, Friedrich Hölderlin, and William Hazlitt, among others.
This volume develops unique discussions of the rise of aesthetic autonomy in the eighteenth century. In bringing together well-known scholars working on British and German eighteenth-century aesthetics, philosophy, and literature, it will appeal to scholars and advanced students in a range of disciplines who are interested in this topic."

Are aesthetics and politics really two different things? The book takes a new look at how they intertwine, by turning from theory to practice. Case studies trace how sensory experiences are created and how collective interests are shaped. They investigate how aesthetics and politics are entangled, both in building and disrupting collective orders, in governance and innovation. This ranges from populist rallies and artistic activism over alternative lifestyles and consumer culture to corporate PR and governmental policies. Authors are academics and artists. The result is a new mapping of the intermingling and co-constitution of aesthetics and politics in engagements with collective orders.

Este articulo presenta una interpelacion de los modos modernos que signan el caracter "cultural" del cuerpo, esbozandola a partir de tres argumentos que conforman los apartados del texto. Una primera parte en la que se interpreta la relacion del cuerpo con lo social y con la naturaleza a traves de, por un lado, reafirmar la idea consagrada de que el cuerpo no es naturaleza, para, por el otro, criticar la tambien consagrada maxima de que "el cuerpo es una construccion social". En un segundo momento la intencion es establecer como tesis que la naturalizacion de lo social en el cuerpo es producto de una homogeneizacion de las percepciones sobre lo corporal y consecuentemente efecto de una universalizacion estetica. Para ello se propone analizar una serie de imagenes de cinematografia documental en las cuales se transmiten significaciones sobre lo corporal, procurando observar lo sentidos puestos en juego y su consecuente formacion de subjetividades. Antes que cuestionar que es un cuerpo, la idea es repensar que no es un cuerpo, y con ello llegar a una tercera parte en la que se senala un modo en que se reproduce transnacionalmente esta universalizacion estetica resultado de una homogeneizacion politica del cuerpo. ; Este artigo apresenta uma interpelação das formas modernas que signi cam o caráter "cultural" do corpo, delineando-o a partir de três argumentos que compõem as seções do texto. Uma primeira parte em que se interpreta a relação do corpo com o social e com a natureza através, por um lado, rea rmar a ideia consagrada de que o corpo não é natureza e, por outro lado, criticar o posicionamento também consagrado de que "o corpo é uma construção social". Em um segundo momento, pretende-se estabelecer como tese de que a naturalização do social no corpo é produto de uma homogeneização das percepções sobre o corporal e, consequentemente, do efeito de uma universalização estética. Para tanto, propõe-se analisar uma série de imagens da cinematogra a documental em que são transmitidas signi cações sobre o corporal, procurando-se observar os sentidos colocados em jogo e sua consequente formação de subjetividades. Antes de perguntar o que é um corpo, a ideia é repensar o que não é um corpo, e, assim, estabelecer uma argumentação de por que se reproduz trans-nacionalmente uma universalização estética resultado de uma homogeneização política do corpo. ; This article presents an interpellation of the modern ways that signify the "cultural" character of the body, outlining it from three arguments that make up the sections of this text. A first part in which it is pointing out the relationship of the body with the social and with nature through, on the one hand, reafirming the consecrated idea that the body is not nature, for, on the other, criticize the also consecrated idea that "the body is a social construction". In a second moment the intention is to establish as a thesis that the body naturalization o is the product of a homogenization of perceptions about the body and consequently the effect of an aesthetic universalization. For this purpose, the aim is to analyze a series of images of documentary cinematography in which signiffcations are transmitted about the corporal, trying to observe the senses put into play and their consequent formation of subjectivities. Rather than questioning what a body is, the idea is to rethink what is not a body, and with it to reach a third part in which is presented how an aesthetic universalization is transnationally reproduced as the result of a political homogenization of the body. ; Facultad de Humanidades y Ciencias de la Educación

The focus of this essay is Paul de Man's provocative antipathy towards the category of the aesthetic in his late writings on philosophical aesthetics. I introduce de Man's critique of what he terms aesthetic ideology – a form of ideological communication – which he considers manifest in the aesthetics of Schiller in particular but also in more scrupulously critical philosophers. I begin the essay with Benjamin's well known observation that twentieth century fascisms aestheticized political practice as part of a defence of existing property relations. I introduce de Man's critique of aesthetic ideology as a way of developing or elaborating on what are relatively sketchy comments on the relationship aesthetics and politics in Benjamin's earlier essay.

Taking the documentary Human Flow by Chinese artist Ai Weiwei, as a case for study, we´ll focus on some of his controversial approaches to the refugee crisis, in order to observe the need to link ethical and aesthetic paradigms in the representations of current political practices. To do so, we will review some of the most important theories about the matter of the last few decades, contrasting them with the narrative strategies that Weiwei makes in its own cinematographic production. In doing it, we´ll try to locate where the lack between ethical and aesthetic discourses can occur, and the consequences that this has for the possibility of performing a political art. ; Revisando el documental HumanFlow (Marea Humana) del artista chino Ai Weiwei, y algunos de sus polémicos planteamientos visuales sobre la crisis de los refugiados, trataremos de observar la necesidad de vinculación de paradigmas éticos y estéticos en las representaciones de carácter político actuales. Para ello revisaremos algunos de los discursos que en las últimas décadas se han realizado en este sentido, contrastándolos con las estrategias narrativas que Weiwei realiza en su producción, intentando localizar dónde puede producirse la fractura entre discurso ético y estético, y las consecuencias que esto tiene para la posibilidad de realizar un arte político.

Some observers, such as Brooks (2008, August 12) in Harmony and the Dream, have considered collectivism as the key contribution to the aesthetics of the Opening Ceremony of the Beijing Olympics. Against such views, this paper takes the position that simulacra (Baudrillard, 1994, p. 125) of classical Chinese philosophy are presented as the core underpinning aesthetics of the Opening in a contemporary context, through the Western experience of hyperreality by means of digital technology, and supported by the collective aesthetics. The paper is based on research into the 'behind-the-scenes' documentary produced and broadcast by China Central Television (CCTV), and discourse about the Opening in the context of broader Internet discussions. Current discourses on collectivism in the aesthetics of the Opening have been associated with social and political concerns, rather than the art and design aesthetic paradigm that influences current consumer culture. However, it is not the intention of this paper to discuss the political references involved. The paper investigates that the contemporary reshaped classical Chinese philosophical aesthetics is the stimulus of the seemingly collective aesthetics at work. Such aesthetics is designed and presented to fulfill the expectation of the Western (or global) context; as such it is a copy of a copy of the Western constructed Chinese aesthetics that is at work. Though the behind-the-scenes documentary of CCTV is generally considered a marketing tool for the event, it provides useful data for investigation of the creative constituent of the hyperreal experience of the audience.

Some observers, such as Brooks (2008, August 12) in Harmony and the Dream, have considered collectivism as the key contribution to the aesthetics of the Opening Ceremony of the Beijing Olympics. Against such views, this paper takes the position that simulacra (Baudrillard, 1994, p. 125) of classical Chinese philosophy are presented as the core underpinning aesthetics of the Opening in a contemporary context, through the Western experience of hyperreality by means of digital technology, and supported by the collective aesthetics. The paper is based on research into the 'behind-the-scenes' documentary produced and broadcast by China Central Television (CCTV), and discourse about the Opening in the context of broader Internet discussions. Current discourses on collectivism in the aesthetics of the Opening have been associated with social and political concerns, rather than the art and design aesthetic paradigm that influences current consumer culture. However, it is not the intention of this paper to discuss the political references involved. The paper investigates that the contemporary reshaped classical Chinese philosophical aesthetics is the stimulus of the seemingly collective aesthetics at work. Such aesthetics is designed and presented to fulfill the expectation of the Western (or global) context; as such it is a copy of a copy of the Western constructed Chinese aesthetics that is at work. Though the behind-the-scenes documentary of CCTV is generally considered a marketing tool for the event, it provides useful data for investigation of the creative constituent of the hyperreal experience of the audience.

Georg Lukacs's (1964) discussion of the connection between modernism & naturalism & Clement Greenberg's (1986) "scientific" study of avant-gardism & kitsch are reviewed to illustrate similarities in their understandings of modernism's impact on aesthetics. After discussing Lukacs's account of the transformation of the aesthetic, it is contended that he perceived modernist ideology as preventing the promotion & activation of the aesthetic. Although several differences in Lukacs's & Greenberg's thought are identified, it is asserted that Greenberg's representation of modernist painting as self-limiting parallels Lukacs's critique of modernist literature. Also, both thinkers' were concerned with preserving past cultural values & using them to change the future. It is concluded that both Lukacs's & Greenberg's respective aesthetic theories attempt to manifest hope, albeit in a desperate manner, for the creation of a system of human wholeness. J. W. Parker

Heritage formation involves some kind of sacralization, through which cultural forms are lifted up and set apart. But success is not guaranteed in the making of heritage, and the cultural forms that are singled out may well fail to persuade. Heritage formation is a complicated, contested political—aesthetic process that requires detailed scholarly explorations and comparative analysis. Which aesthetic practices are involved in profiling cultural forms as heritage? What are the politics of authentication that underpin the selection and framing of particular cultural forms? To which contestations does the sacralization of particular cultural forms—in particular, those derived from the sphere of religion—give rise? Which aesthetics of persuasion are invoked to render heritage sacred for its beholders? Calling attention to various facets of the relation between heritage and the sacred, this special issue offers detailed explorations of how form, style, and appearance seek to vest selected objects and performative practices with sacrality.

Since ancient times, diaspora has been intrinsically connected to Judaism. Whereas modernization and emancipation at the end of the nineteenth century had promised to end the principal rootlessness of Europe's Jewish population, the rise of Nazism once again set them back into
a diasporic and extraterritorial state. According to Marianne Hirsch, descendants of exiled Holocaust survivors unwillingly inherit their parents' continued dislocation. As the homeland of their ancestors has 'ceased to exist', they are destined to remain forever exiled from
the 'space of identity', even if they choose to return to the former homeland of their parents. According to Hirsch, the expression of this ongoing diaspora gives rise to a special narrative genre that is governed by photographic aesthetics. The authors' imaginative completion
of their parents' experiences in the work of postmemory imitates the capacity of photography to simultaneously make present and 'signal absence and loss'. This article will differentiate Hirsch's approach to artistic representations of diaspora in the aftermath of the
Holocaust. By outlining different conceptualizations of diaspora, I will show that in addition to the aesthetics of photography the postmemory of homelessness can also be expressed by means of nostalgic aesthetics and transcultural aesthetics. The article exemplifies all three of these types
of aesthetics by investigating works by the contemporary Jewish writers David Mendelsohn, Anna Mitgutsch and Barbara Honigmann. Whereas Hirsch's photographic aesthetics represents the melancholic insight that a return to the place of origin is impossible, nostalgic aesthetics gives in
to the very desire for a 'final return' (Hall 1990). Both the nostalgic and the photographic aesthetics intrinsically connect identity to a distinct location and cultural belonging, which the writers attempt to restore through the work of postmemory. Transcultural aesthetics, on
the other hand, expresses the interconnection of different places and cultures that arises from living in diaspora. This article concentrates on the transcultural aesthetics exemplified in the autofictional writings of Barbara Honigmann. By voluntarily going into exile, Honigmann refrains
from staying attached to a distinct space and from the attempt to assemble her fragmentary knowledge about her parents' past with regard to an imaginary homeland.