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Abstract
In this interview essay, stef torralba talks with scholar-critic Alexander Ghedi Weheliye about the author's scholarly work, writing practice, and musical inclinations, as well as the current state and future directions of Critical Black Studies. Taking inspiration from Weheliye's interests in the textures of Black, BlackFem, and Black queer and gender-variant life and aesthetics as discussed in the interview, torralba offers texturality as an analytic that characterizes the scholar-critic's work. Together, the essay and interview highlight how Weheliye's oeuvre enables more nuanced and capacious, and thus textural and textured, imaginings of humanity, technology, political subjecthood, and modernity that center the experiences of Black, BlackFem, and Black queer and gender-variant subjects. Weheliye's attention to technologized Black and Black queer and feminist sonic aesthetics from the early twentieth century to the present as spaces to feel out the textures of other worlds renders his scholarship and thinking essential to this special issue's engagements with the disruptive and insurgent dimensions of Black queer musical aesthetics.

While scholarship on Suzanne Césaire has illuminated the critical role of ecopoetics in her writing, the strong psychoanalytic resonances that underpin her theory of Caribbean aesthetics and identity remain underexplored. This essay suggests that these resonances must be read alongside her reflections on aesthetics—specifically, the relationship between art and nature—in order to elucidate a fuller picture of Césaire's ecopoetic theory of Caribbean subject formation. The author examines Césaire's writing on art and civilization within the context of her explicit engagement with surrealism and her more camouflaged engagement with Freudian psychoanalysis. Taken together, these threads reveal Césaire's vision of Caribbean art as a collaborative rather than conquest-oriented relation between the self and the environment. The essay ultimately argues that Césaire's investigations of aesthetics, visuality, and psychoanalysis led her to an ecologically grounded theory of Caribbean subject formation articulated through her vision of a totalité-vie (life-totality) that is accessed through artistic production.

Aesthetic; beautiful emotion is defined as beauty and is limited to this definition. The view that aesthetics is only related to the field of philosophy and that it is limited in this way is wrong. The transition to context-centered studies in folklore has been delayed. For this reason, interdisciplinary studies should be carried out within the understanding of contemporary science. In line with these thoughts, we put forward the Metaethics Theory of Folklore and developed the Folklore Grounding Method Metaethics Analysis as the analysis method of the theory. An aesthetic expression was made in the Book of Dede Korkut. While writing the work, the author tried to reflect the aesthetics in the essence of the work. Based on this thought; The subject of our study is to express sexuality with aesthetic discourse and to determine the place of our ethical value in folk philosophy. It is aimed to make an exemplary study at the point of applying the Metaetic Theory of Folklore to the narratives. Keywords: Metaethics, Theory, Aesthetics, Sexuality, Discourse, Grounding, Analysis.

This article considers the proliferation of nostalgic aesthetics in Instagram poetry ('instapoetry'). Though often overlooked, the relationship between the platform and the poetry itself is a vibrant entry point into debates about the handwritten, analogue and vintage styles of instapoetry. Connecting modernist and postmodernist arguments about nostalgia, this article provides a critical and conceptual lens with which to analyse the visual aspects of nostalgic aesthetics – referred to as 'nosthetics' – characteristic of instapoetry, investigating how and why the genre impersonates the pre-digital, analogue past. Combining scholarship on platforms, nostalgia and instapoetry shows how the concept of nosthetics can be used as a framework for literary and visual analysis of instapoetry. The theoretical framework proposed recommends three developments for those researching nostalgic aesthetics in instapoetry. First, greater attention should be paid to the platform. Second, engagement with scholarship on popular culture and nostalgia is needed. Finally, it is insightful to return to the notion of space at the heart of Johannes Hofer's original definition of nostalgia.

One of the most important poets of postwar Hungarian literature, János Pilinszky's (1921-1981) poetry represents the problems of connecting with the Other, the imprints of Second World War trauma and the struggle with God's distance and silence. Although, unlike the case of most of his contemporaries in Eastern bloc Hungary, his poetry has been translated into several languages, he is hardly known in English-speaking countries. The metaphysically accented lyrical worldview and creator-centered aesthetics—which shows parallels with the Christian poetry of Michael Edwards—of this Hungarian poet are difficult to link or to bring into discourse. On the occasion of the most recent publication (Pilinszky 2019) of Pilinszky's non-literary publications which are practically unknown to non-Hungarian scholars, I attempt to outline the major attributes of Pilinszky's poetry and aesthetics in order to highlight—with a mystical approach in mind—the intertwining presence of said lyre and aesthetics in his poem, In memoriam F. M. Dosztojevszkij ['In Memoriam F. M. Dostoevsky'].

In this article I argue, based on Gilles Deleuze's concept of affect, that the aesthetics of the Berlin Wall, i.e., the aesthetics of the different generations of the Wall itself (especially the last generation of the Wall) and the artistic interventions on the Western side of the Wall, in form of graffiti and wall art, have created effects which not necessarily challenge the Wall's function as a border fortification system, but incorporate it in dialectical form. Affects triggered by the Western Wall's sensational effects and its meandering course through the divided city have animated the Wall in such a way, that the Wall transforms into a living ornament. I read the Wall's aesthetics as Baroque, in which façade and inner structure are seemingly unrelated but not separate and condition each other. I argue that the growing tension between Western surface intervention and Eastern military structure have the potential to bring forward states of e/motion, which I term in the Deleuzian sense: becoming political.

This essay cross-examines both the correlation and the disjunction between art philosophy and political reason in the thinking of the French Jewish art philosopher, Kant specialist and socialist politician Victor Basch (1863–1944). Two interwoven lines of questioning will be in play. One considers the extent to which Basch's theory of beauty, which was primarily grounded in a psychological theory ofEinfühlung, was a corollary to his political ideas and practices. The other line of inquiry raises questions about how Basch's political position, namely his anti-facist defending of republican values, became influenced by his work on aesthetics. By answering both questions, this article challenges the traditional historiography of interwar aesthetics. The esaay shows how conceptual debates of aesthetics were not just sterile theoretical products, but to a large extent offered an apparatus to diagnose and orientate a rapidly changing world. Therefore this essay develops a reflection about the gaze needed to take in the complex historical situations from which aesthetic reflections grew, and which in turn they addressed.

Tradução do artigo de Rita Felski "The role of aesthetics in cultural studies" por Joana d'Arc Martins Pupo.

It's Funny 'Cause It's True is an introductory text in philosophy exploring logic, metaphysics, epistemology, ethics, and aesthetics through questions in the philosophy of humor. Subfields receive a substantive introduction with interactive essays written to be accessible to undergraduates. ; https://cupola.gettysburg.edu/oer/1009/thumbnail.jpg

Through the interpretative lens of today's leading thinkers, The Philosophical Salon illuminates the persistent intellectual queries and the most disquieting concerns of our actuality. Across its three main divisions—Speculations, Reflections, and Interventions—the volume constructs a complex mirror, in which our age might be able to recognize itself with all its imperfections, shadowy spots, even threatening abysses and latent promises. On the cutting edge of philosophy, political and literary theory, and aesthetics, this book courageously tackles a wide array of topics, including climate change, the role of technology, reproductive rights, the problem of refugees, the task of the university, political extremism, embodiment, utopia, food ethics, and sexual identity. It is an enduring record of an ongoing conversation, as well as a building block for any attempt to make sense of our world's multifaceted realities. Contributors: Robert Albritton, Linda Martín Alcoff, Claudia Baracchi, Geoffrey Bennington, Jay M. Bernstein, Costica Bradatan, Jill Casid, David Castillo, Antonio Cerella, Anna Charlton, Claire Colebrook, Sarah Conly, Nikita Dhawan, William Egginton, Roberto Esposito, Mihail Evans, Gary Francione, Luis Garagalza, Michael Gillespie, Michael Hauskeller, Ágnes Heller, Daniel Innerarity, Jacob Kiernan, Julia Kristeva, Daniel Kunitz, Susanna Lindberg, Jeff Love, Michael Marder, Todd May, Michael Meng, John Milbank, Warren Montag, T. M. Murray, Jean-Luc Nancy, Kelly Oliver, Adrian Pabst, Martha Patterson, Richard Polt, Gabriel Rockhill, Hasana Sharp, Doris Sommer, Gayatri Spivak, Kara Thompson, Patrícia Vieira, Slavoj Žižek.

La revuelta estudiantil en el campus universitario de La Rioja del año 2013 es abordada aquí desde el paradigma laclaudiano (Ernesto Laclau, 1935-2014) donde se intenta echar luz sobre las reacciones que generaron las demandas estudiantiles que culminaron con un recambio de gobierno universitario. Se trata aquí de aplicar la compleja conceptualización propuesta por este autor tales como los 'significantes' 'vacíos' o 'fluctuantes', y una nueva lectura de conceptos clásicos como el de hegemonía y contingencia, que nos permitan arrimar una nueva mirada sobre este acontecimiento inaudito en la historia universitaria latinoamericana. ; The student revolt on the La Rioja university campus in 2013 is approached here from the Laclaudian paradigm (Ernesto Laclau, 1935-2014) where an attempt is made to shed light on the reactions generated by the student demands that culminated in a change of university government. It is a matter of applying the complex conceptualization proposed by this author, such as the 'signifiers' (floating or empty), and a new reading of classic concepts such as hegemony and contingency, which will allow us to take a new look at this unprecedented event in Latin American university history. ; Fil: Mercado Reynoso, Adrián. Universidad Nacional de La Rioja; Argentina

The six letters exchanged between Jorge Guillén and Guillermo de Torre, which we offer in the following article, are an example of the diversity of relationships in the literary and artistic scene, before and after the Spanish Civil War. Besides their documental value, we can also observe the aesthetic, political and autobiographical profile of their authors through three equally valuable characters: Federico García Lorca, Pablo Picasso and Juan Ramón Jiménez, who act as subjects of reflection and memory in the letters. ; Las seis cartas intercambiadas entre Jorge Guillén y Guillermo de Torre que ofrecemos en el presente artículo son una muestra de la diversidad de modos de relación personal en el panorama literario y artístico anterior y posterior a la guerra civil española. Junto a su valor documental, nos permiten observar el perfil estético, político y autobiográfico de sus corresponsales a través de tres protagonistas de igual talla: Federico García Lorca, Pablo Picasso y Juan Ramón Jiménez, que son en ellas objeto de reflexión y recuerdo.

The problem of politics in contemporary social theory confronts us with the tension between political action capable of social transformation, and the dissolution of the subject. If there is neither subject, nor authors, personalities or leaders, in the modern conception of these terms, what sort of social and political actions would be able to change the course of history? Considering the notion of 'anal politics' proposed by Paul B. Preciado, this article concentrates its analysis on queer theories and practices, in order to offer a possible reading of the relation between micro and macropolitical processes and their implication on the production of subjects, as well as artistic and cultural creativity. The Argentinian ar- tivist poet Susy Shock, of manifest queer political rooting, will serve as a case study to inquire into an aesthetic-political-theorical process that challenges the social frontiers of the possible. ; Preguntarse por el problema de la política en la teoría social contemporánea, nos enfrenta a la tensión que se presenta en la articulación entre la acción política capaz de transformar lo social y la disolución del sujeto. Si no hay sujeto, tampoco autores, ni personalidades, ni líderes en el sentido moderno de estos términos, ¿cuáles son las modalidades de acción social y política capaces transformar el curso de la historia? A partir de esta pregunta, y sirviéndonos de la noción de políticas del ano de Paul B. Preciado, tomaremos la teoría y las prácticas queer para ahondar en la relación entre procesos micro y macropolíticos, enfocando en los modos de producción subjetiva y los procesos de creación artístico- cultural capaces de trastocar los límites de lo posible. Así, Susy Shock, como un caso de militancia artística con manifiesto arraigo político queer de la escena under de Buenos Aires, nos permitirá acceder al análisis de un proceso de producción estético-político-teórico.