Suchergebnisse

This book traces the intimate connections between Britain and China throughout the nineteenth century and argues for China's central impact on the modern British visual imagination through a study of gardens, blue and white willow plates, the opium den, and the photograph, and literary texts.

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

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.

How are the aesthetics of fear politically mobilised and 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, and 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 and the incessant circulation and discussion of these images since 7/7. The article a rgues 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 o rder and of closure. What interests me are the aesthetic strategies by which Werenotafraid.com effects a restoration of order and gives c losure 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 and morally.

Critics and historians of the late 18th century have developed a multidisciplinary approach to the history of culture. This work, from literary critics and theorists, art historians and social historians, remaps the relations between culture and society, politics and aesthetics, law and representation

The exhibition focused on dress practices amongst black people in Britain from the late 1940s to 2004. It developed out of concerns about the relationships between dress, ethnicity, 'race' and place outlined in '"Out of Many, One People"?: The Relativity of Dress, Race and Ethnicity to Jamaica, 1880-1907' (Tulloch 1998).In 'Black British Style' garments, accessories, photography and film were used to discuss the black identities developed by men, women and children in post-war Britain. The exhibition challenged stereotypes associated with black aesthetics and identities. It placed the dress choices made by individuals to define their sense of self in a historical context. I wanted visitors to gain a better understanding of how, and why, black people in Britain styled their bodies, whether as part of migration, religious, secular or political activities. Oral testimonies played an important role in portraying 'the sincere self' to the choice of garments chosen for display. The exhibition stressed that there is a historical legacy that underpins the style performance associated with this cultural group. 'Black British Style' showed how black people in Britain confronted the tenets of difference to present a sense of 'authenticity' to their life experiences. Black British Style' was the first major exhibition devoted to these issues to be shown in a national museum. It's cultural significance extended internationally as it was the inspiration for the exhibition 'Black Style Now' (2006), Museum of the City of New York. The positive national and international media reactions to the exhibition reinforced the importance of recognising the presence and cultural impact of black people in Britain. An outcome of the exhibition, the associated publication and conference was the successful application for an AHRC Diasporas, Migration and Identities Network grant. This has resulted in the Dress and the African Diaspora Network.