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Feminist aesthetics, negativity and semblance
Ewa Plonowska Ziarek

3 Ewa Plonowska Ziarek Mimesis in black and white: feminist aesthetics, negativity and semblance As Sarah Worth suggests, despite well-established feminist work in literary criticism, film theory and art history, feminist aesthetics ‘is a relatively young discipline, dating from the early 1990s’, and thus still open to contestation and new formulations.1 In this context it might seem paradoxical that one of the founding texts of feminist aesthetics, Rita Felski’s Beyond Feminist Aesthetics: Feminist Literature and Social Change, proclaims its impossibility

in The new aestheticism
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Dana Arnold

The need for a single public culture – the creation of an authentic identity – is fundamental to our understanding of nationalism and nationhood. How are these manufactured cultural identities expressed? This book considers those questions in relation to the ways in which the aesthetics of national identities promoted the idea of nation that encompassed the doctrine of

in Cultural identities and the aesthetics of Britishness
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Audiovisuality and the multisensory in David Lynch’s Twin Peaks - The Return
Caroline L. Eastwood

the specific sensations elicited in the viewer through sound and image in this moment will enable comprehension of how audiovisual aesthetics can appeal to those senses beyond vision and audition. The provocation of sensory affects such as touch and kinaesthesia through sound and image in this sequence, for example, can foster a sense of immersion for the viewer into the dark and mysterious world of Twin Peaks . 2 A significant feature of Lynch's sequence is how he places the viewer at the centre of his atomic bomb

in Sound / image
Anna Dahlgren

by Frederick Kiesler. given different explanations and new functions. Moreover, its reception was completely different when taken out of the artistic frame, literally speaking. The shop window became the main vehicle for introducing a modernist aesthetic to Sweden as it literally brought modernism to the man in the street. The majority of the scholarly studies on window display have adopted a cultural or social historical perspective. Accordingly, relatively few studies have hitherto taken aesthetics as the main subject. Even though the look of the windows is in

in Travelling images
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Experimental British television
Laura Mulvey

than a definitive term in the context of television aesthetics, but it enables the designation of ways in which practitioners have pushed at the medium’s conventions and boundaries, expanding its vocabulary and investigating its specificity. As some of these aesthetic experiments have taken place on the margins of television, and some have been relegated to oblivion as critical failures, further research is needed (across both the BBC and ITV) to find ‘lost’ programmes that will fill in gaps and give this fragile tradition a firmer demarcation. Experimental British

in Experimental British television
International Perspectives

It is important to address the key social and cultural theorisations around issues such as freedom, democracy, knowledge and instrumentalism that impact the university and its relationship with and to the arts. This book maps out various ways in which the arts and creative practices are manifest in contemporary university-based adult education work, be it the classroom, in research or in the community. It is divided into three sections that reflect the normative structure or 'three pillars' of the contemporary university: teaching, research and service. The focus is on a programme that stems from the university's mission and commitment to encouraging its graduates to become more engaged citizens, willing to think critically and creatively about issues of global import, social justice and inequality. The Storefront 101 course, a free University of Calgary literature course for 'non-traditional' adult learners, aims to involve students in active dialogic processes of learning and civic and cultural engagement. Using the concept of pop-up galleries, teacher education is discussed. The book contextualises the place and role of the arts in society, adult education, higher education and knowledge creation, and outlines current arts-based theories and methodologies. It provides examples of visual and performing arts practices to critically and creatively see, explore, represent, learn and discover the potential of the human aesthetic dimension in higher education teaching and research. A more holistic and organic approach to lifelong learning is facilitated by a 'knowing-through-doing' approach, which became foregrounded as a defining feature of this project.

A brief mention of its precedents
Diana Cullell

to political developments, changes in technology, new media and novel forms of social poetry, demonstrating how closely poetry is linked to its socio-historical context. It will also prove how poetry sometimes works as a pendulum, ranging from one extreme to the other and subsequently favouring opposed aesthetics. The Spanish poetry of the early twentieth century combined tradition­ alist with progressive and elitist aesthetics (Cardwell 1999: 175). It is 1 Cullell_ContempPoetry_01_Intro.indd 1 30/04/2014 15:59 during this period that avant-garde writing, the

in Spanish contemporary poetry
Academic compromises
Hélène Ibata

extravagant. 115 116 FROM THE ENQUIRY TO THE ACADEMY As these early letters suggest, Barry’s youthful enthusiasm for the Enquiry enticed him away from the poise and universal forms of classicism towards an aesthetics of excess. At the same time, it is significant that he sought unconventional and dramatic visual forms in the works of the old masters and in nature itself rather than in completely original artistic productions. His fascination for Poussin’s Deluge is characteristic of this tension. On the one hand, it confirms his interest in disturbing visual motifs and

in The challenge of the sublime
Kelly Sullivan

point, this time arguing from the perspective of the reader or viewer, in an essay about his map-making process: ‘we could not use or even bear to look at a map that was not mostly blank’.2 In describing the means by which he created maps of the Aran Islands, Connemara and the Burren, Robinson also describes the aesthetics of writing about place; his maps and his books both function as ‘conceptual model[s]‌of the terrain projected onto paper … representation[s] of spatial relationships in a symbolism that facilitates calculations’.3 In the same essay he explains that

in Unfolding Irish landscapes
Counterfactual Romanticism and the aesthetics of contingency
Damian Walford Davies

The aesthetics of contingency 1 •• ‘The object as in itself it really is not’: Counterfactual Romanticism and the aesthetics of contingency Anne C. McCarthy The one duty we owe to history is to rewrite it. (Oscar Wilde)1 Counterfactual methodologies ask us to confront the reality of contingency, prompting us to reconsider the status of a past often assumed to have been inevitable. In doing so, the counterfactual recasts the present and the future as sites of radical possibility where basic assumptions about identity are undone through the recognition of

in Counterfactual Romanticism