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This book explores contemporary continental philosophy and aesthetics. It addresses the problem of post-Kantian reason in relation to the pathologies of experience, alienation, the transformative and ethical import of aesthetic experience, the relation between philosophy and social critique, and language as disclosure rather than correspondence.

"Cover" -- "Half Title" -- "Book Title" -- "Copyright" -- "Table of Contents" -- "List of figures" -- "Notes about the contributors" -- "Acknowledgements" -- "Sensory urbanities: excursions in the city" -- "Introduction" -- "Sensory antecedents" -- "Structure of the book" -- "References" -- "Part I" -- "Sensory inequalities" -- "1 Climatic environmental bubbles and social inequalities" -- "Introduction" -- "Heat as a sensory experience" -- "Literature review" -- "The climatic environmental bubble" -- "Climate modification in Bangkok metropolis" -- "Climatic bubbles and social class in Bangkok" -- "Discussion: climatic bubbles and macro-socialcategories" -- "Conclusion: from structure to practices in micro-climatic modification" -- "Acknowledgement" -- "References" -- "2 The politics of sensible milieu: sense, deception and charisma in urban India" -- "Perception and deception" -- "Scenes of deception" -- "Deceptive encounters" -- "Charismatic figures" -- "Charismatic figures as aesthetic subjects" -- "Conclusion" -- "References" -- "Perception and deception" -- "3 Senses of distinction: social differentiation, metro-mobilities and daily life in Ho Chi Minh City" -- "The feel of Ho Chi Minh City" -- "Mobilities, dispositions and transport sensescapes" -- "New transport sensescapes of automobility in HCMC" -- "Differentiation and commingling in transport sensescapes" -- "New metro-mobilitiesand multiplying of sensory experiences" -- "Dulling, distinction and demarcation of sensory experiences in metro-mobilities" -- "Conclusion" -- "References" -- "Part II" -- "Sensing urban space through movement" -- "4 Walking to the beat: (re)producing locality through Walking Days" -- "Walking days" -- "Embodied commemorations" -- "Walking to the beat" -- "(Re)creating community" -- "Conclusion" -- "References

Dubbing in China: an introduction. Defining dubbing translation -- Concept and theory -- An aesthetic perspective: procedures and principles -- A strategic study: language and culture -- Sub & dub industry in contemporary China. Translated films: products of language exchange -- Gatekeeper: mission of dubbing for import -- Accelerator: functions of minority-language dubbing -- Easy mover: strategy of dubbing for export -- Understanding sub & dub: basic features. Forms of language expression: voice utterances -- Functions of information communication -- Research approaches to theoretical studies -- Understanding the language: linguistic quality. Linguistics in sub and dub translation -- The basic nature of film and tv drama language -- The linguistic features of English film and tv drama language -- Understanding the mind: from typing to talking. The psycholinguistic mechanism of re-encoding -- Words, utterance, and texts: from SL understanding to TL production -- From typing to talking: a shift of thinking patterns -- Training approaches: a guide into the art. Concept and principles: sub & dub as an art -- Ttheory and foundation: text features -- Training approaches: rhetoric reconstruction -- Sense of dialogue: reconstruction of lifestyle. The two-step reception process -- Talk to your neighbor: cultural adaptation -- Cultural issues in sub & dub translation -- Cultural context conformity -- Cultural psychological adjustment -- Cultural theme reconstruction.

Through a close reading of interactive and experimental art works, this book explores how the digital uncanny unsettles concepts of "self," "affect," "feedback," and "aesthetic experience," forcing us to reflect on our relationship with computational media and by extension our relationship to each other and our experience of the world.

Through a close reading of interactive and experimental art works, this text explores how the digital uncanny unsettles concepts of 'self,' 'affect,' 'feedback,' and 'aesthetic experience,' forcing us to reflect on our relationship with computational media and by extension our relationship to each other and our experience of the world.

This book elucidates the ways in which German Idealist authors such as Kant, Fichte, Friedrich Schlegel and Hegel envisioned the conjunction of spontaneous activity and receptivity towards culturally transmitted models in the context of aesthetic experience, philosophical thought, textual communication and literary criticism.

In Knowledge, Art, and Power: An Outline of a Theory of Experience John Ryder presents an original theory of experience rooted in the American pragmatic naturalist philosophical tradition. The operative assumption of the book is that a clearer understanding of experience provides a richer conception of human being. Beginning with the Deweyan idea of experience as the mutually constitutive engagement of an individual with her environing conditions, the theory posits that there are three general dimensions that condition all of our experience - cognitive (knowledge), aesthetic (art), and political (power). All other constituents and forms of experience, such as language, emotions, ethics, religion, and others, are conditioned by these three general threads that define the fabric of experience and of human life

For decades theology tended to be oriented towards the empirical social sciences, but since the 1990s a shift of orientation towards aesthetics has been observed. Art and aesthetic experience have become more important for the reflection of religious experience. The aesthetic dimension of faith is being rediscovered. Based on different concepts, the author explores the systematic theological fundamental preconditions of such a frame of reference and investigates the chances and limits of a closer relationship between theology and aesthetics. Mirjam-Christina Redeker, Weimar.

The essays in 'The Insistence of Art' suggest ways in which the artworks and practices of the early modern period show the essentiality of aesthetic experience for philosophical reflection, and in particular for the rise of aesthetics as a philosophical discipline, while also showing art's need for philosophy.

The Modernist fascination with the visual is not only palpable in the development of media and the visual arts, but it becomes a central concern in literature. Modernist texts, particularly the works of Virginia Woolf, turn towards vision to explore new ways of seeing and aesthetic experience. Her novels experiment with phenomena of vision that not merely reflect on modes of perception but create aesthetic vision as a function of the text.

Dealing with creative logos, this collection aims to lift human experience into spirit and culture. In it, the momentum of a gathering "creative brainstorm" leads to the vertiginous imaginative transformability of the creative logos as it ciphers through the elements of experience - sensing, feeling, emotions, forming - in works of art

"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."

"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."

"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."

"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."