Suchergebnisse

Intro -- Contents -- Notes on Contributors -- List of Figures -- Introduction: Media and Genre -- 1 Genre and Aesthetics -- 2 Genre and Culture -- Genre and Structure -- Genre and Discourse -- Genre and Mediality -- 3 Genres in Media and Cultural Theory -- 4 Transmedial and Transnational Perspectives -- 5 Re-examining Genres in Film Studies -- References -- Part I: Genres in Media and Cultural Theory -- Genre in Action: The Impossibility and Value of Genre Analysis -- 1 Critical Legacies: Genre and Authorship -- 2 Action as Genre, Genres and Mode: Managing Genre's Impossibility -- 3 Genre: Histories and Chronologies -- 4 Action and Models of Television Genre -- 5 Games, Gameplay and Spaces of Action/Adventure -- 6 Conclusion -- References -- Trespass: Genre, Author, and Play in the Discourse of Media Aesthetics -- 1 State of Theory: Genre Studies and Auteurism -- 2 Trespass and the Last Adventure -- 3 Blackness (Re)Assigned -- 4 Genre Politics as Media Aesthetics of Formalization -- 5 Conclusion: The Genius of the Genre System -- References -- Staging Revolutions: Hamilton. An American Musical, Genre Affordances, and the Political Dynamics of Cultural Circulation -- 1 The Genre Politics of Hamilton -- 2 The Event of Hamilton, Historiographic Metatheatre and the Question of Social Efficacy -- 3 Epilogue -- References -- Part II: Transmedial and Transnational Perspectives -- A New Genre Arena? Questions of Genre in the Digital Age of Promotional Media -- 1 Introduction -- 2 Genre and Promotional Media -- 3 Working Genre in the Digital Age: Three Cases -- The Making of a World -- Tweeting about Family -- Teasing the Familiar -- 4 Conclusion -- References -- Political Genres of Online Animation: Genre Theory, Animation Studies, and Digital Media -- 1 Introduction -- 2 Animation and Genre -- 3 Animation and Digital Media.

"Until this century, Northern Nigeria was a major center of textile production and trade. Textile Ascendancies: Aesthetics, Production, and Trade in Northern Nigeria examines this dramatic change in textile aesthetics, technologies, and social values in order to explain the extraordinary shift in textile demand, production, and trade. Textile Ascendancies provides information for the study of the demise of textile manufacturing outside Nigeria. The book also suggests the conundrum considered by George Orwell concerning the benefits and disadvantages of 'mechanical progress,' and digital progress, for human existence. While textile mill workers in northern Nigeria were proud to participate in the mechanization of weaving, the 'tendency for the mechanization of the world' represented by more efficient looms and printing equipment in China has contributed to the closing of Nigerian mills and unemployment. Textile Ascendancies will appeal to anthropologists for its analyses of social identity as well as how the ethnic identity of consumers influences continued handwoven textile production. The consideration of aesthetics and fashionable dress will appeal to specialists in textiles and clothing. It will be useful to economic historians for the comparative analysis of textile manufacturing decline in the 21st century. It will also be of interest to those thinking about global futures, about digitalization, and how new ways of making cloth and clothing may provide both employment and environmentally sound production practices."

These article aims to provide the evolution of the vanguardistpoint of view on aesthetics. Vanguardismcalled into question modern and classical artistic methods and especially, aesthetical assumptions of modernity. If historical vanguardism exaggerated a series of the features of modernity, neo-vanguardism refuses the cult of novelty and rejects the permanent nihilism.

Security Aesthetics of and Beyond the Biopolitical / D. Asher Ghertner, Hudson McFann, and Daniel M. Goldstein -- The Aesthetics of Cyber Insecurity: Displaying the Digital in Three American Museum Exhibits / Victoria Bernal -- Danger Signs: The Aesthetics of Insecurity in Bogota / Austin Zeiderman -- We All Have the Same Red Blood?: Security Aesthetics and Rescue Ethics on the Arizona's Sonora Border / Ieva Jusionyte -- Fugitive Horizons and the Arts of Security in Honduras / Jon Carter -- Security Aesthetics and Political Community Formation in Kingston, Jamaica / Rivke Jaffe -- Staging Safety in Brooklyn's Real Estate / Zaire Dinzey-Flores and Alexandra Demshock -- Expecting the Worst: Active-Shooter Scenario Play in American Schools / Rachel Hall -- H5N1 and the Aesthetics of Biosecurity: From Danger to Risk / Limor Samimian-Darash -- Securing Stand-by and Urban Space Making in Jakarta: Intensities in Search of Forms / -- AbdouMaliq Simone -- Securing the Street: Urban Renewal and the Fight Against 'Informality' in Mexico City / -- Alejandra Leal Martinez -- The Age of Security / Didier Fassin

"I Only Want Two": Aesthetics, Race, and Sterilization in BrazilUgo F. EduAbstractPrior to 1997, and in spite of being illegal, tubal ligations were the preferred method of contraception among poor black and brown women in Brazil, with rates as high as 59% in particular regions. The significant decrease in fertility has been attributed, in part, to women's reliance on tubal ligations. After accusations of genocide by the Black Women's Movement and governmental investigations, a law addressing contraception was passed. This law legalized the creation of a national family planning program and legalized sterilization with guidelines to reduce the incidences of abuse and overuse. The rate of sterilization has since dropped to 29%.The ushering in of a national family planning program and legalization of tubal ligation took place within a pre-existing economy of race, sexuality, and aesthetics. This economy foregrounds the social and cultural milieu women must navigate as they reproduce and create families. This dissertation, "I Only Want Two": Aesthetics, Race, and Sterilization in Brazil, examines the factors that influence women's decisions and their experiences trying to secure tubal ligations in Brazil. My work draws out the intersections of race, reproduction, gender, sexuality, class, agency, necropolitics and aesthetics. My work links Brazilian notions of beauty, desirability and family aesthetics to women's reproduction and explicitly connects the history and legacy of slavery and racism in Brazil to the current moment and the health disparities as experienced by women in their attempts to control their fertility. The dissertation draws on 16 months of ethnographic, qualitative and archival research in Brazil, among predominantly black Brazilian, popular-classed women and their families. Ultimately, this work demonstrates the ways that black women navigate through inherited complex interplays of racial, sexual, class, and aesthetic structures; this work shows how women find and exploit tactics that create flexibility in these structures, improving their chances at fertility control.

Rule by Aesthetics draws on extensive fieldwork in Delhi's slums, courtrooms and state offices to shed fresh light on the violent underpinnings of contemporary city making. Presenting a new theory of urban power, Ghertner shows how aesthetic codes replaced conventional city planning tools in Delhi's millennial slum clearance drive.

'Rule by Aesthetics' draws on extensive fieldwork in Delhi's slums, courtrooms and state offices to shed fresh light on the violent underpinnings of contemporary city making. Presenting a new theory of urban power, Ghertner shows how aesthetic codes replaced conventional city planning tools in Delhi's millennial slum clearance drive.

This collection of essays addresses the ongoing problem of dissent from a broad range of disciplinary perspectives: political philosophy, intellectual history, literary studies, aesthetics, architectural history and conceptualizations of the political past. Taking a global perspective, the volume examines the history of dissent both inside and outside the West, through events in the twentieth and twenty-first centuries both nearer to our own times as well as more distant, and through a range of styles reflecting how contested and pressing the problem of dissent in fact is. Drawing on a range of authors and international problematics, the contributions discuss the multiple ways in which we refract memories of dissent in cultural, historical and aesthetic context. It also discusses the diverse ideas, images and phenomena we use to do so.

Abstract
A fetish is a specific emotionally loaded object, body part, or situation that draws our attention and desire, and sexual fetishism is the sexual arousal that a person experiences when in contact with such a loaded object. Until now, psychology has had trouble understanding the distinctive lust objects and the orchestration of urges in the world of fetishism, so fetishism has therefore fallen into the category of perversions and abnormal behavior. In this study, fetishism is moved to the field of aesthetics, and a new theory is presented: Fetishism is the attraction to certain species-specific key stimuli that are perceived as especially beautiful and exciting. A topic or an object that contains important key stimuli automatically becomes a power object or a fetish. Therefore, we have to look into the innate sensibilities on which our aesthetics are based and into the micro-processes of the aesthetic impulse to understand why something captivates and fascinates us in a fetishist way.

Эстетика немецкого мыслителя Йозефа Гёрреса, в молодости примыкавшего к романтизму, выражается яркими поэтическими образами – вспышками («сполохами») эстетического сознания. Особенно ярко они проявляются при его субъективной герменевтике художественных произведений любимых авторов – Жана Поля в литературе и Филиппа Отто Рунге в изобразительном искусстве. Гёррес убежден, что в произведениях искусства содержится нечто большее в духовном плане, чем представлялось самим художникам. Для него искусство иероглифично и символично. Художественно-эстетическое пространство представляется Гёрресу системой оппозиций идей и феноменов внешнего мира, которые снимаются на более высоком уровне художественным идеалом, синтезирующим противоположные начала. Искусства, основывающиеся на идее, – «продуктивные», производящие нечто новое, а на природных явлениях – «эдуктивные», выводящие свои произведения из уже существующих объектов. Продуктивный художник творит на основе фантазии, эдуктивный – на преображении природных образов. На игре продуктивных и эдуктивных принципов возникает более высокий «идеальный» принцип творчества. В другой плоскости рассмотрения Гёррес делит искусства на риторические и пластические, которые, в свою очередь, тяготеют к продуктивным и эдуктивным типам, объединяясь в стремлении к художественному идеалу. Художественный идеал устремлен к «высшей гуманности» и тождествен с красотой. Еще в одной плоскости рассмотрения искусства предстают у Гёрреса как «представляющие» внешний мир и как «формирующие» внутренний мир человека. Эстетика осмысливается немецким мыслителем как наука, выраженная художественными средствами.