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The beginning of aesthetic theory and the end of art
Andrew Bowie

that makes Hegel the target of philosophers whose aim is to deconstruct such pretension, as part of the wider attempt to overcome ‘Western metaphysics’. In the preceding chapters I have tried to show that there always has been something of a ‘deconstructive’ tendency in modern philosophy, though it is generally one which seeks to elaborate new conceptions of subjectivity, not completely to obviate the role of the subject. In the present context it is important to keep the focus on the significance of aesthetics in Hegel’s work, but it will soon be obvious that, as we

in Aesthetics and subjectivity
Ian Aitken

-fictitious competence. Ultimately, in the first part of my Aesthetics [actually, in the second part] ( The Specificity of the Aesthetic ), I attempted to take a position on what I believed to be the problems related to the most important principles of an aesthetics of the cinema. And even on that occasion, I sought not to pass myself off as somebody who is competent in relation to particular

in Lukácsian film theory and cinema
Anne Ring Petersen

Globalisation-from-above and globalisation-from-below The relationship between globalisation and migration is complex, in terms of both history and theory; so also are the interrelations between the discourses on globalisation and migration and the artistic phenomena that the Introduction subsumed under the categories of global art and migratory aesthetics. This chapter seeks to draw up an outline of how ‘globalisation’ and ‘migration’ have been articulated in Western discussions of contemporary art since the 1990s, and how the two discourses intersect. The

in Migration into art
Abstract only
James Elkins

des Bildakts (2007) and his research group Bildakt und Verkörperung (Picture Act and Embodiment) (2008–​11) were also concerned with the ways images make their way through the world. The root of many of these diverse lines of inquiry is, broadly speaking, the advent of poststructuralism in the 1960s, and the turn away from aesthetics and toward other meanings of images. David Freedberg’s Power of Images (1989) is one of the first academic markers of this interest, although it could also be traced to English cultural studies in the 1970s and Anglophone visual studies

in Image operations
Mannerism and mourning in Spanish heritage cinema
Sally Faulkner

in producing ‘a national cultural discourse for audiences and producers at home’, but which, despite the adoption of foreign aesthetics, failed to be ‘legible’ or ‘pleasurable’ to the foreign audiences familiar with those very aesthetics.8 Perhaps it is this odd mismatch between legibility at home and illegibility abroad that has led the few critics who do pay attention to the undoubtedly ‘modest’ Spanish heritage (Perriam 2003: 85) to describe it as ‘mediocre’ (Smith 2006: 112) and ‘nascent and unconsecrated’ (Wheeler 2014).9 In the rest of this study I will

in Performance and Spanish film
Surrealist entertainment during the Greek dictatorship
Christina Adamou

as an acclaimed series – one which has been discussed ever since its first airing. As television scripts were censored, the openness and the aesthetics of the audiovisual text proved particularly important in under­mining various aspects of the regime’s ideology. The aesthetics of the series, involving language, humour, visual style and acting, are the main focus of this chapter, as they illustrate how effectively tele­ vision aesthetics can challenge attempts at ideological control. It is also interesting to note that this audiovisual text has never been analysed

in Popular television in authoritarian Europe
The modernity of Burke’s Enquiry
Hélène Ibata

because of their broader representational implications. The rest of the chapter examines the relevance of the Enquiry to recent theories which put the unpresentable at the centre of artistic presentation. Postmodern theories and especially Jean-​François Lyotard’s writings shed an interesting light on Burke’s emphasis on terror and excess, allowing us to see in them early intimations of what could be called an aesthetics of endeavour. By reflecting on the question of artistic presentation in general, these writings also suggest that Burke’s conception of the artistic

in The challenge of the sublime
The problematic nature of the limited edition
K.E. Gover

Goodman, Nelson. Languages of Art (Indianapolis: Bobbs-Merill, 1986), pp. 118–19; Nigel Warburton, ‘Authentic Photographs,’ British Journal of Aesthetics 37 (1997): 129–37. 4 Uidhir, Christy Mag. ‘Unlimited Additions to Limited Editions,’ Contemporary

in Perspectives on contemporary printmaking
Abstract only
Staging the wound
Carl Lavery

. ( ibid .: 48) In the lines above, Genet invests in a logic which undermines the very foundation of Brechtian aesthetics. Where Brecht wanted to make art serve a political purpose, Genet declares that the more successful the artwork is aesthetically, the greater harm it does to revolutionary praxis. This is because it evokes what he calls ‘nostalgia’, a form of imaginative reverie through which the subject rediscovers le temps perdu of childhood. To put this otherwise, art encourages us, Genet suggests, to turn our back on the world. 5 Genet expanded on this

in The politics of Jean Genet’s late theatre
Objects, affects, mimesis
Simon Mussell

realism’ (SR). In this chapter, I want to show how the contemporary (re)turn to objects initially serves as a useful corrective to social or political theories that fail to properly engage with the object world (this includes forms of traditional Marxism that often presume ‘reification’ to be a perennial evil, rather than a particular social relation). I take this as an opportunity for a timely reconstruction of early 82 Critical theory and feeling critical theory’s own engagements with the object world via aesthetics and mimesis. This is most evident in Siegfried

in Critical theory and feeling