Suchergebnisse

Philosophical biography / Ray Monk -- Ethics in the modern world / Roger Crisp -- The role of political philosophy / Jonathan Wolff -- Aesthetics and music / Aaron Ridley -- Power, knowledge and injustice / Miranda Fricker -- Feminism and pornography / Rae Langton -- Mind matters / Tim Crane -- The concerns of analytic philosophy / Michael Martin -- On vagueness / Timothy Williamson -- The rebirth of metaphysics / Robin Le Poidevin -- Continental philosophy and emancipation / Simon Critchley -- The analytic and the continental / Simon Glendinning -- Sartre's existentialsim / Christina Howells -- Post-analytic philosophy / Stephen Mulhall -- A post-human hell / Keith Ansell Pearson -- Philosophy and the public / Nigel Warburton

The British playwright Harold Pinter (1930-2008) is undoubtedly one of the greatest and most extraordinary modern playwrights, with the writing career which spanned over fifty years. The world Pinter depicts in his dramas is deeply political, violent, malevolent, and absurd at the same time, and is certainly reflective of dread, the precarious condition inhabited by most of contemporary humanity. A whole gallery of Pinter's characters (in his early plays) are not driven by ambition to make progress in such a world, they don't care to dispute the public arena, they are uninterested in changing the world for better or for worse. On the contrary, those characters are sad citizens of intimacy, fear, the horrific nature of which unmasks itself in claustrophobic rooms they are entrapped in, where power games, domination, and the struggle for liberation originate. Pinter's characters are obsessed only with their own survival, governed by the 'territorial imperative'. The paper aims at analyzing thematic preoccupations, dramatic devices and major dramatic and poetic elements of Pinter's plays, with the emphasis on his connection with the 'Theatre of the Absurd'. The focus is also on the concept of the hidden violence of language and linguistic absurdity as used by Pinter.

In my dissertation, "Refamiliarizing Empathy through the Aesthetics of James Joyce and Agustín Yáñez," I perform a comparative study of aesthetic portrayals of empathy primarily through two representative novels of Latin-American and European modernism: Yáñez's Al filo del agua (The Edge of the Storm) and a work that greatly inspired it, Joyce's Ulysses. In doing so, I advance a new interdisciplinary approach that incorporates aesthetics, Lacanian psychoanalysis, narratology, ethics, and the haptic in order to show how these two narratives, despite generally being more associated with modernist themes such as alienation, not only contain but construct empathy as well. In Al filo del agua I focus primarily on the character Father Reyes as a figure of empathy, while in Ulysses I namely analyze Bloom, particularly within the blind stripling scene. I also include an examination of the striking woodblock prints that accompany the original edition of Al filo del agua in order to demonstrate how this text features empathy not only textually, but also visually. I ultimately argue that empathy primarily makes an appearance in Al filo del agua through its more political form, prosocial action, while in Ulysses empathy occurs principally in the form of perspective taking via the perspicacious musings of Bloom.

Elizabeth Swann investigates the relationship between the physical sense of taste and taste as a figurative term associated with knowledge and judgment in early modern literature and culture. She argues that - unlike aesthetic taste in the eighteenth century - discriminative taste was entwined with embodied experience in this period. Although taste was tarnished by its associations with Adam and Eve's fall from Eden, it also functioned positively, as a source of useful, and potentially redemptive, literary, spiritual, experimental, and intersubjective knowledge. Taste and Knowledge in Early Modern England juxtaposes canonical literary works by authors such as Shakespeare with a broad range of medical, polemical, theological, philosophical, didactic, and dietetic sources. In doing so, the book reveals the central importance of taste to the experience and articulation of key developments in the literate, religious, and social cultures of the sixteenth and seventeenth centuries.

We most commonly encounter the word defiance when used as an adverb to classify a peculiarly courageous or risky act of resistance. However, the use of the word defiance in this way is a departure from the historical meaning of the word. Moreover, it occludes the possibility that there exists political activity that is manifestly defiant. The article takes issue with this tendency and identifies a mode of resistance that is explicitly defiant. In order to do this, the paper draws from the phenomenological approach underpinning the standing sculptures of the British sculptor Antony Gormley. This informs an exploration of the protest enacted by the standing man of Taksim Square, who participated in a large antigovernment movement in Turkey in 2013. In acts we might distinguish as defiant, the paper demonstrates the materialist vulnerability of the protesting body, the aesthetic ontology at work, the prevalence of the standing metaphor, the role of silence, and the absence of futurity. By unearthing defiant modes of protest, the heterogeneity of resistance is affirmed, and a new domain where art encounters the political is revealed.

chapter 1 Bollywood, Bhangra and being British -- chapter 2 Mapping migration: Transnational formations of diaspora -- chapter 3 Bollywood and/ as musical theatre -- chapter 4 Bollywood on stage: Transadaptation and 'Bollywoodisation' -- chapter 5 Bending Bhangra: Rifco Arts and Bend It Like Beckham: the musical.

We most commonly encounter the word defiance when used as an adverb to classify a peculiarly courageous or risky act of resistance. However, the use of the word defiance in this way is a departure from the historical meaning of the word. Moreover, it occludes the possibility that there exists political activity that is manifestly defiant. The article takes issue with this tendency and identifies a mode of resistance that is explicitly defiant. In order to do this the paper draws from the phenomenological approach underpinning the standing sculptures of the British sculptor, Antony Gormley. This informs an exploration of the protest enacted by the standing man of Taksim Square, who participated in a large antigovernment movement in Turkey in 2013. In acts we might distinguish as defiant, the paper demonstrates the materialist vulnerability of the protesting body, the aesthetic ontology at work, the prevalence of the standing metaphor, the role of silence and the absence of futurity. By unearthing defiant modes of protest, the heterogeneity of resistance is affirmed and a new domain where art encounters the political is revealed.

How are the aesthetics of fear politically mobilised & politically mobilising? This article directs this question to a specific series of events beginning with the bombing of the London transportation system on 7/7, the near repeat performance of this event on 7/21, & the 'Shoot to Kill to Protect' policy's first application which resulted in the killing of electrician Jean Charles de Menezes on 7/22. In particular, it addresses itself to one specific aestheticisation of fear, the images posted on the website Werenotafraid.com & the incessant circulation & discussion of these images since 7/7. The article argues that the asetheticisation of the London bombings through this specific website illustrates the often overlooked second movement in the Kantian sublime: the movement from rupture to a restoration of order & of closure. What interests me are the aesthetic strategies by which Werenotafraid.com effects a restoration of order & gives closure to the breakdown of the British imagination, of not only national security but also unity. This article first traces the reliance of these aesthetic strategies on a Kantian morality. It then explains how these Kantian-inflected strategies repair the breakdown of the British imagination of security through a very specific 'panhuman' restoration of British unity. Finally, it analyses the failures of the Werenotafraid.com project, politically & morally. Figures. Adapted from the source document.

Portraits of Violence explores the image and idea of facial disfigurement in one of its most troubling modern formations, as a symbol and consequence of war. It opens with Nina Berman's iconic photograph Marine Wedding, which provoked a debate about the medical, military, and psychological response to serious combat injuries. While these issues remain urgent, it is equally crucial to interrogate the representation of war and injury. The concepts of valor, heroism, patriotism, and courage assume visible form and do their cultural work when they are personified and embodied. The mutilated or disabled veteran's body can connote the brutalizing, dehumanizing potential of modern combat. Suzannah Biernoff draws on a wide variety of sources mainly from WWI but also contemporary photography and computer games. Each chapter revolves around particular images: Marine Wedding is discussed alongside Stuart Griffiths' portraits of British veterans; Henry Tonks' drawings of WWI facial casualties are compared to the medical photographs in the Gillies Archives; the production of portrait masks for the severely disfigured is approached through the lens of documentary film and photography; and finally the haunting image of one of Tonks's patients reappears in BioShock, a highly successful computer game. The book simultaneously addresses a neglected area in disability studies; puts disfigurement on the agenda for art history and visual studies; and makes a timely and provocative contribution to the literature on the First World War